sustainable commercial interior design
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Technological University Dublin Technological University Dublin
ARROW@TU Dublin ARROW@TU Dublin
Dissertations Fine Arts
2009-11-17
Sustainable Commercial Interior Design Sustainable Commercial Interior Design
Órla Keane Technological University Dublin, orla.keane@tudublin.ie
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Recommended Citation Recommended Citation Keane, O.(2009). Sustainable Commercial Interior Design. Masters Dissertation. Technological University Dublin.
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Dublin Institute of Technology
Sustainable Commercial Interior Design By Órla Keane, BA (Hons.) Interior Design
A dissertation submitted in partial fulfilment of the requirements for the degree of Master of Science in Sustainable Development
Dublin Institute of Technology
Department of Environment and Planning
Supervised by R. O’Sullivan
November 2009
SUSTAINABLE INTERIOR DESIGN 1
Abstract
Interior design decisions can no longer be made based on
aesthetics and functionality. Designers now have a responsibility to
create indoor environments that reflect environmental awareness,
environmental protection and the sustainability of the building itself.
Very few resources are available that can aid an interior designer to
design in an environmentally responsible way. There is a large
quantity of information available regarding the specification of
environmentally responsible construction materials, in the design
and construction of buildings, but very few resources are available
that are focused on the interiors of these buildings (Jones, 2008).
In order for commercial interior design to lower the environmental
impact of a building, designers must have a broad understanding of
sustainable interior design issues, since they are the people who
specify the interior components of a building.
The research question to which this dissertation addresses is:
How can commercial interior design lower a building’s
environmental impact?
SUSTAINABLE INTERIOR DESIGN 2
Declaration Page I certify that this thesis which I now submit for examination for the award of
_____________________, is entirely my own work and has not been
taken from the work of others save and to the extent that such work has
been cited and acknowledged within the text of my work.
This thesis was prepared according to the regulations for postgraduate
study by research of the Dublin Institute of Technology and has not been
submitted in whole or in part for an award in any other Institute or
University.
The work reported on in this thesis conforms to the principles and
requirements of the Institute's guidelines for ethics in research.
The Institute has permission to keep, to lend or to copy this thesis in whole
or in part, on condition that any such use of the material of the thesis be
duly acknowledged.
Signature __________________________________ Date _________ Candidate
SUSTAINABLE INTERIOR DESIGN 3
Abbreviations American Society of Heating, Refrigerating and Air-Conditioning Engineers (ASHRAE)
Brominated Flame Retardants (BFRs)
Carbon (CO2)
Chartered Institution of Building Services Engineers (CIBSE)
Commission on Environment and Development (WCED)
Environmental Protection Agency (EPA)
European Environment Agency (EEA)
Chemical Safety Data Sheet (CSDS)
Compact Fluorescent Lamps (CFLs)
Corporate Social Responsibility (CSR)
British Research Establishment Environmental Assessment Method (BREEAM)
Building Energy Rating (BER)
Building Related Illnesses (BRI)
Business and Institutional Furniture Manufacturer’s Association (BIFMA)
Environmental Preference Methodology (EPM)
Forest Stewardship Council (FSC)
Global Ecolabelling Network (GEN)
Healthy Flooring Network (HFN)
Indoor Air Quality (IAQ):
Institute of Designers of Ireland (IDI)
Interiors Association (IA)
International Interior Design Association (IIDA)
International Organization for Standardization (ISO)
Leadership in Energy and Environmental Design for Commercial Interiors (LEED CI)
Life Cycle Assessment (LCA)
Light-Emitting Diodes (LED)
Material Safety Data Sheet (MSDS)
McDonough Braungart Design Chemistry (MBDC)
Medium Density Fiberboard (MDF)
Occupational Safety and Health Administration (OSHA)
Sick Building Syndrome (SBS)
Sustainable Energy Ireland (SEI)
Urea- Formaldehyde (UF)
Volatile Organic Compounds (VOCs)
SUSTAINABLE INTERIOR DESIGN 4
List of Figures (Illustrations)
1. http://www.greengrowth.org/picture_library/Waste-hierarchy.png
2. http://frogandprincess.files.wordpress.com/2009/04/fsc-logo3.jpg
3. Maximizing Ireland’s Energy Efficiency- The National Energy Efficiency
Action Plan 2009-2020, Department of Communications, Energy and
Natural Resources, ROI. October 2007.
4. Danlers (2008) Controls for Lighting and HVAC, Product Catalogue July
2008, UK.
5. Bonda, P. and Sosnowchik, K. 2007. Sustainable Commercial Interiors.
6. http://naturalinteriors.us/wp-content/gallery/kirei-wheatboard/wheat-
board.jpg
7. http://www.julianos.com/imagescat/carpetunderlay.jpg
8. http://blog.ecolect.net/wp-content/uploads/2007/12/fsc-logo.jpg
9. http://www.speaking-up.com/blog/wp-content/bamboo-flooring-2.jpg
10. http://4bars.com.au/web/wp-
content/uploads/2009/05/5220_striato_detail-1-2-mbcrop.jpg
11. http://4.bp.blogspot.com/_yRBN4F4O_XE/SgnZNUEjvyI/AAAAAAAAAYs
/AFEWj4VQ48A/s320/comfortflr_office4.jpg
12. http://www.buildinggreen.com/cgi-
bin/scale.cgi?width=200&src=/productimages/1587_climatex.jpg
13. http://www.metropolismag.com/webimages/2527/Victor_Innov1_t346.jpg
14. http://www.buildinggreen.com/press/topten2005/Carnegie_PLA_panel_fa
bric.jpg, and, http://i.treehugger.com/interface.gif
15. http://farm1.static.flickr.com/167/407103768_ae9fdae76a.jpg 16. http://farm1.static.flickr.com/177/407103535_47cd85fa49.jpg
17. http://farm2.static.flickr.com/1084/1183324356_a627d578b0.jpg (2009)
[Online]. [Accessed: 31October 2009].
18. http://www.archnewsnow.com/features/Feature6.htm (2009) [Online].
[Accessed: 31October 2009].
19. http://www.archnewsnow.com/features/Feature6.htm (2009) [Online].
[Accessed: 31October 2009].
SUSTAINABLE INTERIOR DESIGN 5
20. http://www.archnewsnow.com/features/Feature6.htm (2009) [Online].
[Accessed: 31October 2009].
21. http://www.hermanmiller.com/MarketFacingTech/hmc/products/Celle_Ch
airs/EPS_CEL.pdf (2009) [Online]. [Accessed: 31October 2009].
22. http://www.droog.com/contents/products/multibox/chest_of_drawers_xs_
04.jpg (2009) [Online]. [Accessed: 31October 2009].
23. http://www.plushpod.com/images/products/preview/1124.jpg (2009)
[Online]. [Accessed: 31October 2009].
24. www.apartmenttherapy.com/.../spring-chair-010048 (2009) [Online].
[Accessed: 31October 2009].
List of Tables
Table 1: Interior Fit-Out Issues According to BREEAM
Table 2: Light bulb energy efficiency comparison for interior applications
Table 3. Common Sources of Formaldehyde in Interior Materials Table 4: Comparison of Fibers
SUSTAINABLE INTERIOR DESIGN 6
Table of Contents
INTRODUCTION
SUSTAINABLE DEVELOPMENT AND INTERIOR DESIGN ......... 10
Material Culture and Image .................................................................................................................... 11
A Return to Heritage ............................................................................................................................... 13
Sustainable Development ...................................................................................................................... 14
In Conclusion ........................................................................................................................................... 17
CHAPTER ONE
INTERIOR DESIGN AND ENVIRONMENTAL POLICY: LAWS, REGULATIONS AND BUILDING CODES ..................................... 19
1.1 Irish Environmental Policy ..................................................................................................... 21
1.2 Building Research Establishment (BRE) .............................................................................. 23
1.3 BSI British Standards and BREEAM ..................................................................................... 28
1.4 LEED: Leadership in Energy and Environmental Design ..................................................... 29
1.5 International Organization for Standardization ..................................................................... 31
1.6 The Environmental Preference Methodology (EPM) ............................................................ 32
1.7 The Decorative Paints Directive (Directive 2004/42/EC) ...................................................... 33
1.8 Material Certifications ............................................................................................................ 34
CHAPTER TWO
LITERATURE REVIEW ................................................................. 39
CHAPTER THREE
EFFICIENCY: LIGHTING AND WATER ........................................ 47
3.1 Interior Lighting Systems: Bulbs ........................................................................................... 49
3.1 Interior Lighting Systems: Controls ....................................................................................... 53
3.2 Water Efficiency .................................................................................................................... 57
SUSTAINABLE INTERIOR DESIGN 7
3.3 Low Volume and Waterless WCs ......................................................................................... 58
3.4 Faucets and Taps ................................................................................................................. 60
3.4 Water-Conserving Design Features ...................................................................................... 61
CHAPTER FOUR
CHOOSING INTERIOR FINISHES AND FURNISHINGS .............. 64
4.1 Life Cycle Analysis and the Environmental Preference Method ........................................... 66
4.2 Indoor Air Quality .................................................................................................................. 68
4.3 Volatile Organic Compounds: Paint ...................................................................................... 70
4.4 Formaldehyde: Wood Furnishings ........................................................................................ 73
4.5 Flame retardants: Textiles..................................................................................................... 76
4.6 Finishes: Flooring .................................................................................................................. 78
4.7 Finishes: Carpet .................................................................................................................... 82
4.8 Sustainable Furniture Strategies ........................................................................................... 88
CHAPTER FIVE
RESEARCH METHODOLOGY AND FINDINGS ........................... 92
5.1 Methodology .......................................................................................................................... 93
5.2 Results and Findings ............................................................................................................. 94
5.3 Limitations and Considerations ........................................................................................... 103
5.4 Conclusions and Implications ............................................................................................. 104
C A S E S T U D I E S ......................................................105
OVERCOMING OBSTACLES ......................................................105
1.World Resources Institute Headquarters Office Interiors, Washington, D.C ......................... 105
2.National Wildlife Federation Headquarters Office Building, Reston, Virginia ........................ 109
3.Haworth Merchandise Mart, Office Furniture and Interiors Showroom, Chicago, Illinois ...... 111
4.Herman Miller Office Furniture ............................................................................................... 113
5.Chest of Drawers By Tejo Remy, Droog Furniture Design .................................................... 114
6.Favela Chair By the Campana Brothers ................................................................................ 115
SUSTAINABLE INTERIOR DESIGN 8
7. Spring Chair By Modern Bamboo Furniture Co. .............................................................. 116
8. Timberland shopfit-the social communication power of retail .......................................... 117
C O N C L U S I O N .............................................................118
PROVIDING DESIGNERS WITH ENVIRONMENTAL SOLUTIONS .....................................................................................................119
Design Education ...................................................................................................................... 120
Sustainable Interior Design Strategies ...................................................................................... 123
Conclusion................................................................................................................................. 127
R E F E R E N C E S ...........................................................129
SUSTAINABLE INTERIOR DESIGN 9
Disclaimer: The fire combustibility of products has not been taken into consideration
throughout the research. This is a subject worthy of independent research in its
own right. Reference has been made to the Class Fire Rating of some products,
making use of data extracted from Material Data Sheets. This dissertation also
solely investigates the non-structural components of commercial interiors:
various furnishings, fixtures and finishes. Therefore, the heating and/or thermal
and ventilation components have not been assessed.
SUSTAINABLE INTERIOR DESIGN 10
I N T R O D U C T I O N_________________
Sustainable Development and Interior Design “Will we be able to face our children and assure them that we did not lack the courage to face these difficult questions, did not lack the stamina to pursue the correct solutions?”
-Pierre Elliot Trudeau, Prime Minister of Canada 1968-1984
The ability to design well is the ability to problem solve. There are many difficult
environmental issues that designers are attempting to solve, yet there exists
only a small amount of technical guidance; the problems that are currently
facing the natural environment are moral issues. Every designer is faced with
challenges in their work when attempting to implement the right design
decisions. A good interior designer is a ‘jack of all trades’- they must have the
ability to master spatial planning, be familiar with the standard components of
interiors such as furniture and fittings, have a creative train of thought for putting
together visually stimulating schemes and understand the way that spaces are
used, just to name a few. In addition to these traits, interior designers must
know the tradesmen of the various fields and have a technical architectural
ability to communicate with builders and architects. Moreover, interior design is
SUSTAINABLE INTERIOR DESIGN 11
utilized in almost every industry. Commercial interior design can include
hospitality, recreation, corporate, health, education and retail, amongst others.
These are all sectors where each requires specific standards in terms of their
construction, health and safety, and special requirements. In addition, these
sectors require constant updating and refurbishment, since they are public
spaces that may often be developed on an ongoing basis. Buildings must adapt
to the times, and the design of the interior of the building is no exception. If
anything, interior design can be the voice of the building.
Interior designers are responsible for the design of homes, workplaces and
public buildings. The sustainability of interiors is closely linked to environmental
construction and building design efficiency. It also includes furniture and fitting
industries, and interior designers are in a unique position to implement design
solutions that are sustainable, which will help lower the environmental impact of
their structures as a whole. It is also an excellent communication tool, since a
good part of our day-to-day lives are spent indoors; the psychology of interior
design and how a space can affect an individual is important. Economically, the
commercial world holds a strong emphasis on brand identity and satisfying their
client, and businesses can demonstrate their ability to be up to date though
visual communication and interior design.
Material Culture and Image
Interior design can become extremely wasteful in commercial areas like
hospitality, retail and office design. These areas may also require retention of
corporate image, sending out the message that they are on trend, up to date
and ‘ahead of the game’ when compared with competitors. Thus, with updating
appearances comes a high turnover of waste.
SUSTAINABLE INTERIOR DESIGN 12
Fig. 1: The Waste Hierarchy
It is important for designers to be familiar with the hierarchy of waste, which
begins with prevention (Fig. 1). During refurbishment, it is possible to employ
sustainable strategies such as using reclaimed or salvaged furniture, recycled
or recyclable flooring, in order to prevent waste. Commercial interior design
includes spaces that consumers frequent the most, and attract the most media
attention. Therefore, refurbishment can be an essential tool in regard to
attracting consumers and media interest, and in turn, aid growth and financial
success. Moreover, interior design can also communicate environmentalist
values through its design.
However, since the appearances of interiors are regularly updated and
reworked, and usually dictated by a trend or specific look (e.g minimal,
classical, period, etc.), refurbishment creates new interest and often renders the
aesthetics of the previous interior to become obsolete (Walker, 2006).
Particularly in commercial interiors, where corporate image is a huge driver of
refurbishment. Take for example McDonald’s restaurants: in order to take
advantage of the mid 90s boom of ‘coffee culture’, “McCafe” was born, an
independent seating area, or ‘coffee lounge’ that oozed ambiance, decorated in
‘coffee and crème’ colour schemes. This adherence was to the trends of
material culture. Trends have varied life spans, and should they be short-lived,
SUSTAINABLE INTERIOR DESIGN 13
commercial interior refurbishment can become a cycle based on production and
waste.
interior design can also be a powerful tool that can stimulate the market by
boosting sales and create competitive advantages. What better tool to use to
communicate environmentalism and sustainability? This small step could
stimulate interest and progress, in directions that begin to embrace sustainable
principles (Walker, 2006). Interior design as a sustainability communication tool
is demonstrated in the final chapter devoted to case studies.
A Return to Heritage
At the beginning of the last century, many of our posessions would have been
produced locally or regionally, such as furniture, rugs, tools and hardware, or at
least in our own country (Walker, 2006). These products were generally built to
last, durable and made by locally-sourced materials. Yet at the beginning of the
21st century, very few are made locally, most are imported and the majority are
manufactured and assembled in various countries (Walker, 2006).
Architecture in ancient cities was, by its very nature, environmentally
responsible (Jones 2008). Construction was based on human labor, raw
materials were limited to what was available locally and many hand-built
dwellings decomposed back into the natural environment (Jones, 2008).
Historically, buildings were built to last, some with exceptional durability. The
evidence of this still prevails in Ireland today. From the 17th century thatched
cottages to the 18th century Georgian houses that line Dublin’s streets, an
abundance of historic examples of what life was like in Ireland are still
exceptionally preserved. In addition, materials chosen were usually extracted,
sourced, and transported with regionally native methods (Jones, 2008).
With the industrial revolution came mass production and accelerated
consumerism. Here rose the first appearance of material culture. Before the
SUSTAINABLE INTERIOR DESIGN 14
industrial revolution, buildings and communities, such as those periods
mentioned in Ireland, were built differently. Local resources, both natural and
human, dictated what was built and how. Structures were designed based on
the understanding of only local materials, local processes, local skills and local
traditions, enabling them to become truly integrated within their local
environment (Bonda, 2007). These are buildings and communities that are
today, often the most desired and envied, for their timeless beauty and quality.
Surely these historical principles of sustainable design could be newly
embraced and implemented today?
Unfortunately, financial profit is still the dominant influence on designers’
decisions, and this is one of the major reasons that change is slow and few
decide to stray too far from conventional techniques (Walker, 2006). In addition,
cost, aesthetics, availability and durability are all issues that interior designers
perceive as obstacles to specifying sustainable products and materials. This
dissertation seeks to address these obstacles in order to provide clarity for
interior designers. It is the responsibility of interior designers to explore new
approaches and new processes that are more integrated, and seek ways in
which to implement environmentally-consius decions on a more consistent
basis (Walker, 2006).
Sustainable Development
In 1987, the World Commission on Environment and Development (WCED)
issued The Bruntland Report: Our Common Future, which provided the
groundwork for a global sustainability movement (Jones, 2008). Sustainable
Development was defined as
“Humanity that has the ability to make development sustainable- to ensure that it meets the
needs of the present without compromising the ability of future generations to meet their own
needs” (Bruntland, 1987).
SUSTAINABLE INTERIOR DESIGN 15
Sustainable Development is development that must not only be environmentally
sustainable, but also economically and socially sustainable (Jones, 2008). It is
becoming more and more evident in today’s world that there is now a ‘global
ecological debt’, where we have used more than our fair share of the Earth’s
finite natural resources and our behavior is having profound influences on eco-
systems and landscapes. Our debt is unevenly distributed, with a higher
negative impact being generated by the countries of the north, compared to
those of the southern, less-developed countries (Simms, 2005). This creates
two crises: ecological debt and foreign financial debt, where the poorer,
southern countries lack funding for education and health, and the more
industrialized northern countries will feel the greatest effects of climate change
(Simms, 2005). If we continue to push ecosystems beyond their ability to renew
themselves, the debt will keep mounting (Simms 2005). It appears that our
ecological debt in the future will rely on our environmental ethics, when dealing
with issues of sustainable development.
Today, there are innumerable pressures on Ireland’s environment. Fortunately,
the vulnerability of Ireland’s natural environment has come under focus more
than ever before. Many environmental directives have been brought into
Ireland’s legislation in the last few decades. They illustrate the actions that need
to be taken and they aid in protecting the various different aspects of Ireland’s
environment. Legislation in Ireland was first introduced to protect the
environment when Ireland joined the European Union in 1972 (McWilliams,
2005). Today, pressures such as waste management, water conservation, and
energy consumption are some of the most paramount environmental issues on
Ireland’s national agenda. These pressures on Ireland’s environment have
developed alongside changes in the Irish lifestyle, where the standards of living
have increased with the concept of the ‘full-on nation’ (Mc Williams 2005), a
period which can be perceived as one of excess consumption and materialism.
Expectations and needs have risen dramatically in Ireland, and aesthetics and
design within the built environment are certainly right at the forefront.
SUSTAINABLE INTERIOR DESIGN 16
Ethically, Ireland has a responsibility to make sustainable decisions for its
future. Ethics are highly based on the individual and each person sees the world
through their own filters, their own life experiences. The culture and values of a
social scientist for example, differ greatly when analyzing a city’s urban
generation, compared to those of an architect’s. Likewise, what is important to a
designer can vary greatly depending on their design ethics. Environmental
ethics addressed by designers can demonstrate their capacity to consider the
natural environment by specifying more sustainable products and materials.
Environmental ethics is not an area for only specialists, but for all. The
degradation of our environment poses just as great a threat to life as a nuclear
war, and the ultimate challenge of environmental ethics is the conservation of
life on earth (Armstrong, 1998).
Yet sustainable interior design is not just about the right specification of
furnishings, finishes and fittings. It is also about adaptability and flexibility.
According to Sustainable Design International’s 2000-2001 Harmonized EU
Vocabulary: Useful Terms & Definitions relating to Fire safety & Protection in
Buildings, the terms adaptability and flexibility are defined as:
“Adaptability: the extent to which a building component is designed when new,
to be capable of being easily modified, at any later stage during its life cycle, to
meet the changing life and living/working needs of potential users…”
“Flexibility: the extent to which a building interior is designed when new, to be
capable of being easily varied at any later time, with minimal cost and user
inconvenience because of changing living/working needs”
Source: Sustainable Design International (2001)
Thus, it is very important that interior designers also consider the entire life
cycle of a building. This will result in less energy and materials being consumed
for refurbishment, and also result in economic savings if furnishings, finishes
and fittings can be re-used. If buildings are designed to allow a greater degree
of flexibility, occupants can adapt the space according to their evolving needs,
SUSTAINABLE INTERIOR DESIGN 17
without reconstruction, thereby addressing adaptation for new use over the
building’s lifespan (Doran, 2004).
In Conclusion
This dissertation intends to assess the technical guidance that is currently
available and applicable to Irish interior designers by which to specify
sustainable furnishings, fittings and finishes for commercial interiors. This
assessment will address the relative legislation, regulations and building codes
that would be of most use to Irish interior designers. In relation to furnishings
and fittings, major interior components such as furniture, lighting and water
fixtures will be discussed. In terms of finishes, the most environmentally-
conscious methods will be suggested based on the most preferred
environmental attributes.
Although thermal comfort and ventilation are interior design components that
are heavily linked to sustainable design, they will not be included in this study
since their specification is not usually the sole decision of an interior designer.
This work will focus solely on the non-structural components of commercial
interior design.
A lack of awareness of environmental standards, guidelines and regulations for
the interiors industry exists in Ireland and is causing designers to continue with
their “what they don’t know won’t hurt them” mindsets. This lack of education
and information is a major obstacle for the industry, as illustrated in chapter 5,
which discusses the findings of interior design surveys that were conducted in
Ireland, in order to ascertain design professionals’ perspectives and attitudes
towards sustainability. Aesthetics, functionality and budget were also cited as
problematic for designers when specifying sustainable products. These myths
and misconceptions will be addressed in the same chapter and further dispelled
in the section devoted to sustainable interior design case studies.
SUSTAINABLE INTERIOR DESIGN 18
Finally, the call for sustainable design education and information is also
becoming increasingly urgent. The United States is way ahead of Ireland in
terms of its national design councils implementing continuing education in
sustainable design practice (Bonda, 2007). Their design schools are now
preparing interior design graduates as the move forward to sustainable design
gains momentum (Bonda, 2007).
This thesis is an attempt to highlight the many issues that interior designers
must start considering if they have not yet started. The scope of discussion in
each topic is small and merely approached as an introduction to the many
facets of sustainable interior design that require Irish designers’ attention.
Sustainability IS an issue for interior design. It is of great importance to society
and the building sector. Interior design must be considered: 50% of material
resources that are building-related are taken from nature, 40% of energy
consumption in Europe is building-related, and over 50% of national waste
production is a result of the building sector (Anink, 1996).
Interior designers play a key role in sustainability. Consciously or not, they have
the power to choose alternatives that have lower environmental impacts.
Therefore, it is essential that interior designers are aware of the environmental
options that are available to them.
SUSTAINABLE INTERIOR DESIGN 19
C H A P T E R O N E________________________
Interior Design and Environmental Policy: Laws, Regulations and Building Codes
“The most important thing to know about a material’s green certification is the source of that rating. It’s the designer’s responsibility to go beyond the buzzwords, beyond the surface. They must know how products are made and used, and they must become educated in knowing what questions to ask.”
- Penny Bonda, FASID, LEED AP, coauthor of Sustainable Commercial Interiors.
Implementing innovative design solutions whilst complying with building
regulations and legislation is an integral part of the design process. In addition,
regardless of the project type, interior designers must always consider the
health, safety and welfare of the public. To add to this difficult task,
governments, organizations and agencies have been developing new
environmental certifications, policies, laws, regulations and building codes all
SUSTAINABLE INTERIOR DESIGN 20
over the world, in order to protect the natural environment. It is crucial that
interior designers remain up to date with the environmental laws and regulations
that apply in their country, in order to practice sustainable interior design
(Winchip, 2007). However, there are currently very few resources that exist that
can aid an interior designer to design in an environmentally responsible way
(Jones, 2008). There is a large quantity of information available regarding the
use of sustainable design practices and the specification of environmentally
responsible construction materials, in the design and construction of buildings,
but very few resources are available that are focused on the interiors of these
buildings (Jones, 2008). Are not all professionals involved in the construction
and design industry morally obligated to contribute to lowering the
environmental impact of their work?
In 1999, the International Interior Design Association (IIDA) conducted a study
regarding environmentally responsible interior design, and discovered major
differences between designers and their actions (Jones, 2008). They found that
83% of the designers surveyed felt they had a moral responsibility to offer
clients sustainable options, yet only 37% actually did so (Jones, 2008). A lack of
credible and consistent information was cited as a key obstacle by 75% of the
designers surveyed, for implementing sustainable design concepts (Jones,
2008). Thankfully, the building industry in the US has been slowly -but
consistently- developing and piloting protocols for environmentally responsible
design (Jones, 2008). Interior designers are now being asked to create spaces
that protect the health, safety and well being of the people who work, live and
play in their interior environments (Jones 2008). At the same time, by doing this,
they will be creating spaces that also protect the health, safety and well being of
nature itself. Yet what is the current understanding of sustainable interior design
in Ireland, and how much guidance is available to Irish designers?
In Ireland, there are several pieces of environmental policy that interior
designers should be familiar with. There are also certain aspects of the Irish
Building Regulations, such as the Technical Guidance Document Part L-
SUSTAINABLE INTERIOR DESIGN 21
Conservation of Fuel and Energy, which directly apply to the energy efficiency
of non-structural interior components such as lighting. In addition, there are also
UK-based building codes such as the British Research Establishment
Environmental Assessment Method (BREEAM) and the British Standards that
can be used as sustainable guides for certain aspects of interiors. Finally, it’s
important for Irish interior designers to be aware of leading international
sustainable guidelines that have a focus on interiors, such as Leadership in
Energy and Environmental Design for Commercial Interiors (LEED CI). This
chapter intends to focus on the various laws, regulations and building codes
that are the most applicable to Irish interior designers, and that would benefit
their environmental awareness by acting as informative resources for designing
sustainable commercial interiors.
1.1 Irish Environmental Policy
IN 1997, the Kyoto Protocol was negotiated as an amendment to the United
Nations Framework Convention on Climate Change and by ratifying this, Ireland
committed to reducing its carbon dioxide emissions and greenhouse gases
(http://unfccc.int/kyoto_protocol/items/2830.php, 2009). The European
Commission then put forward a far-reaching plan that would deliver on the
European Union's commitments to fight climate change and promote renewable
energy up to 2020 and beyond
(http://ec.europa.eu/environment/climat/climate_action.htm, 2009). Under this
agreement, Ireland must reduce its greenhouse gas emissions by 20% relative
to 2005 levels, by 2020, and one of the greatest CO2 abatement potentials lies
in Ireland’s energy sector (Siemens, 2009).
This year, Siemens Limited commissioned a team to carry out research, which,
for the first time for the Dublin region, offers a comprehensive analysis of costs
and infrastructural CO2 abatement potentials (Siemens, 2009). Technological
levers from the sectors of buildings and energy, amongst others, were
examined for their potential to reduce greenhouse gases and help to meet the
SUSTAINABLE INTERIOR DESIGN 22
emission targets (Siemens, 2009). Many of the identified technologies, such as
solar power and energy efficient technologies make economic sense as most of
them pay back their investment costs through energy savings (Siemens, 2009).
The report found that cities account for approximately 75% of global energy
consumption. Therefore, the energy efficiency of buildings plays a huge part in
reducing greenhouse gas emissions, and the design and components of their
interiors that consume energy also play a vital role.
The National Energy Efficiency Action Plan for Ireland 2009-2020 also identified
that there are significant potential energy savings to be found through the
development of energy efficient lighting. The Irish government has committed to
using fluorescent bulbs wherever possible, and to the replacement of
incandescent bulbs with Compact Fluorescent Lamps (CFLs),going as far as
implementing legislation to eliminate inefficient lighting products from the Irish
market altogether (National Energy Efficiency Action Plan for Ireland, 2009).
The Irish Building Regulations 2010 will also demand a 30% improvement on
energy performance of non-residential buildings relative to the 2005 building
regulations (National Energy Efficiency Action Plan for Ireland, 2009).
Thus, the challenge of conserving energy in Ireland’s building and energy
sectors has begun, thanks to various government initiatives. Also introduced
have been national campaigns such as the Power of One, and new tax
incentives and awards that encourage/award companies who purchase the
most energy-efficient equipment, such as:
Accelerated Capital Allowances for energy efficient equipment
Companies may claim 100% of the capital cost of certain energy efficient
equipment against corporation tax in year of purchase. By encouraging
businesses to purchase equipment that is highly energy efficient, they can
benefit by significant savings on energy costs and reduce carbon emissions
(http://www.dcenr.gov.ie/Energy/Energy+Efficiency+and+Affordability+Division/
Programmes.htm, 2009).
SUSTAINABLE INTERIOR DESIGN 23
The Sustainable Energy Awards
Held annually by Sustainable Energy Ireland (SEI), the awards recognize and
publicly acknowledge the best achievements in energy efficiency and renewable
energy. The awards are open to all businesses and organizations, private and
public sector.
IS393, the Irish Standard for Energy Management
Support by the Irish government for businesses in maximizing their energy
efficiency through the adoption of IS393
SEI’s Energy MAP (Energy Management Action Plan)
Assistance for smaller businesses with limited resources to improve their
energy management through the Energy MAP initiative.
(Source: National Energy Efficiency Action Plan for Ireland, 2009)
Although awareness in regard to energy efficiency has been raised and
progress has been made as a result of these initiatives, there is still very little
awareness being promoted on the use of recycled products, water efficient
fixtures, carbon neutral materials or environmentally healthy interior finishes
within the Irish building sector. This dissertation will argue for the importance of
generating a greater awareness of the environmental benefits of implementing
these types of sustainable strategies.
1.2 Building Research Establishment (BRE)
The term ‘cradle to cradle’ is often used to describe the entire life of a
component or product, based on its Life Cycle Assessment (LCA), which covers
SUSTAINABLE INTERIOR DESIGN 24
the sourcing of raw materials to the recycling into raw materials at the end of its
defined life (Jones, 2008). This concept of ‘no waste”, modeled after nature,
was first introduced by architect William McDonough, leading to the Cradle To
Cradle certification from McDonough Braungart Design Chemistry (MBDC)
(Jones 2008). The UK-based Building Research Establishment (BRE) uses a
variety of Life Cycle Assessment (LCA) methodologies to help companies
understand how their products, materials and systems will perform and how
they might improve the environmental performance of their buildings
(http://www.bre.co.uk/page.jsp?id=1578, 2009).
BREEAM (Building Research Establishment Environmental Assessment
Method) is one of the leading and most widely used environmental assessment
methods for buildings in the UK. It sets the standard for best practice in
sustainable design and is used to measure a building's environmental
performance (http://www.breeam.org/page.jsp?id=66, 2009). BREEAM
addresses a wide range of environmental and sustainability issues and enables
developers and designers to prove the environmental credentials of their
buildings to planners and clients, by using a straightforward scoring system that
is transparent, easy to understand and supported by evidence-based research
(http://www.breeam.org/page.jsp?id=66, 2009). The standard covers ten
categories of sustainability including:
• Management
• Health & Wellbeing
• Energy
• Transport
• Water
• Materials
• Waste
• Land Use and Ecology
• Pollution
• Innovation
BREEAM is then dissected into building types, or ‘schemes’, such as Prisons,
SUSTAINABLE INTERIOR DESIGN 25
Courts, Healthcare, Office, Retail, Industrial, etc. and within these schemes
there is a medium sized scope that applies to interior design, in terms of
refurbishment and fit-out (BREEAM Offices, 2008). The schemes that most
apply to commercial interior design are Courts, Healthcare, Office and Retail.
Stages that apply to interior design work are: major refurbishment, tenant fit-out,
initial design stage, post construction stage and in- use. In regard to the
schemes that are the most applicable to the field of interior design, BREEAM
Retail and BREEAM Offices have the most information on common commercial
interior design issues that are related to sustainability.
The BREEAM Office scheme is not designed to assess a minor refurbishment
of an existing building, i.e. works that do not result in the provision, extension or
alteration of thermal elements and/or building, or a change of use (BREEAM
Offices, 2008). Therefore, this system may have little value to interior designers
for sustainable office refurbishment or designing for change of use. However,
the extent that BREEAM can be applied to interior design is through its
assessment of a fit out of an existing building. Replacement by durability or
fashion (fit out assessments only) is also addressed in BREEAM Retail.
Table 1 summarizes the BREEAM fit- out related issues that apply to
sustainable interior design:
SUSTAINABLE INTERIOR DESIGN 26
These issues are taken into account at both the initial design stage and post-
construction stage, and are included in both the 2008 BREAAM Offices and
Retail Assessor manuals.
BREEAM also publishes a Green Guide to Specification, which is an easy-to-
use comprehensive reference website and electronic tool, providing guidance
for specifiers, designers and their clients on the relative environmental impacts
for a range of different building elemental specifications (BREEAM Retail,
2008). The ratings within the guide are based on Life Cycle Assessment, using
the Environmental Profile Methodology- EPM (BREEAM Retail, 2008). In
Table 1: Interior Fit-Out Issues According to BREEAM
Glare Control: To give building users sufficient access to daylight. To reduce problems associated with glare in occupied areas through the provision of adequate controls, for example an occupant-controlled shading system on all windows, glazed doors and roof lights in all relevant building areas.
High Frequency Lighting: To reduce the risk of health problems related to the flicker of fluorescent lighting. Internal Lighting Levels: To ensure lighting has been designed in line with best practice for visual performance and comfort. Lighting zones and controls: To ensure occupants have easy and accessible control over lighting within each relevant building area. Indoor Air Quality: To reduce the risk to health associated with poor indoor air quality, with a focus on natural and artificial ventilation to dilute pollutants as compliance criteria. Volatile Organic Compounds: To recognize and encourage a healthy internal environment through the specification of internal finishes and fittings with low emissions of volatile organic compounds (VOCs). Reduction of CO2 emissions: To recognize and encourage buildings that are designed to minimize the CO2 emissions associated with their operational energy consumption (e.g. lighting). Water Consumption: To minimize the consumption of potable water in sanitary applications by encouraging the use of low water use fittings. Source: BREEAM Offices, 2008
SUSTAINABLE INTERIOR DESIGN 27
relation to interior design, this includes elements, for example, such as floors,
which are expected to last for the entire life of the building, and carpets, which
may be changed regularly through the life of the building
(http://www.thegreenguide.org.uk/page.jsp?id=15, 2009).
Finally, the BREEAM manuals include the British Standards’ required Volatile
Organic Compound (VOC) emission levels from various interior products and
finishes. BREEAM Offices also supports the responsible sourcing of materials.
However, the scope of BREEAM does not extend to furnishings e.g. desks,
shelving, etc. It only focuses on the key internal finishes and fittings integral to
the building (BREEAM Offices, 2008).
BREEAM lacks an in-depth guide that solely focuses on the interiors of
commercial buildings. The guide applies t interior design only for that it
addresses refurbishments, the use of artificial and energy efficient lighting and
the emission levels of VOCs in various finishes(Volatile Organic Compounds),
which can impinge on indoor air quality (BREEAM Offices, 2008).
Assessments using UK BREEAM schemes can be carried out in the Republic of
Ireland. BREEAM is tailored to the UK’s construction sector, but it has been
used extensively in Northern Ireland and many times in the Republic (Gallagher,
2009). This is due to Ireland’s strong similarities with the UK in terms of climate,
construction techniques, technologies, standards, culture and society
(Gallagher, 2009). BRE are in the process of developing BREEAM for Ireland.
BRE Ireland plan to develop an Environmental Assessment Method specific to
Ireland (Gallagher, 2009). BREEAM When asked if their plans for Ireland will
include a focus on commercial interior design, a representative for BRE Ireland
responded:
“The first BREEAM Ireland scheme will be Offices and we expect a pilot version to be
available in the next few months. This is largely due to a recent increase in its use in
Ireland. It will not be that different (at least initially) from the UK and European versions
– minor changes to account for differences between the UK and Ireland… things like
standards, policies etc will be updated for Ireland. As you know the BREEAM schemes
SUSTAINABLE INTERIOR DESIGN 28
were originally for new build only but they can now be used during major
refurbishments and fit out. At this moment in time BREEAM Offices and BREEAM
Retail can be used in Ireland by just using the UK BREEAM standards."
Their current activity in Ireland includes:
• 25 buildings registered • 8 buildings assessed • In excess of 10 Assessor organizations • Development of BREEAM Prisons • OPW specifying BREEAM Source: Gallagher, A. (2009) BREEAM in Ireland
Assessments in Ireland are hoped to be made using a combination of existing
BREEAM methodologies, European and international examples, the final result
also including an Irish based assessor network and an Irish based certification
scheme (Gallagher, 2009).
1.3 BSI British Standards and BREEAM The British Standards is the UK's National Standards Body (NSB). BSI British
Standards works with manufacturing and service industries, businesses,
governments and consumers to facilitate the production of British, European
and international standards. (http://www.bsi-global.com/en/Standards-and-
Publications/About-BSI-British-Standards/, 2009). BREEAM refers to a selection
of British Standards which it uses as evaluation criteria of VOC emissions from
various product types:
BS EN 14342:2005 Wood flooring – Characteristics, evaluation of conformity and marking. BS EN 14041:2004 Resilient, textile and laminate floor coverings. Essential characteristics. BS EN 717-1:2004 Wood-based panels- determination of formaldehyde release. BS EN 13999-1:2007. Part 1: Adhesives – Short term method for measuring the
SUSTAINABLE INTERIOR DESIGN 29
emission properties of low-solvent or solvent-free adhesives after application BS EN 13999-2:2007. Part 2: Determination of volatile organic compounds. BS EN 233:1999. Wall coverings in roll form – Specification for finished wallpapers, wall vinyls and plastics BS EN 234: Specification for wall coverings for subsequent decoration. BS EN 266:1992 Specification for Textile wall coverings. BS 3046:1981 Specification for Adhesives for hanging flexible wall coverings. BS EN 13300:2001 Paints and varnishes – water-borne coating materials and coating systems for interior walls and ceilings – Classification. BS EN ISO 11890-2:2006 Paints and varnishes- Determination of volatile organic compound (VOC) content. Source: BREEAM Offices, 2008
These standards can be useful guides for interior designers when specifying
materials, because they are directly assessed with the main consideration being
indoor air quality (IAQ).
1.4 LEED: Leadership in Energy and Environmental Design
LEED is an internationally recognized green building certification system,
developed by the U.S. Green Building Council (USGBC). It provides verification
that a building is designed and built using strategies aimed at improving
environmental performance
(http://www.usgbc.org/DisplayPage.aspx?CMSPageID=1988, 2009). LEED also
has a rating system that is specifically focused on commercial interiors, defined
by the USGBC as follows:
SUSTAINABLE INTERIOR DESIGN 30
“LEED for Commercial Interiors is the green benchmark for the tenant
improvement market. It is the recognized system for certifying high-performance
green interiors that are healthy, productive places to work; are less costly to
operate and maintain; and have a reduced environmental footprint. LEED for
Commercial Interiors gives the power to make sustainable choices to tenants and
designers, who do not always have control over whole building operations.”
(Source: http://www.usgbc.org/DisplayPage.aspx?CMSPageID=145, 2009).
This demonstrates the importance of sustainability within the interiors industry in
the United States. LEED CI credits within each of the key LEED areas also
cover a wide range of interior-focused environmental aims:
Water Efficiency: minimum water use reductions of 20-30%;
Energy & Atmosphere: Optimizing energy performance of lighting power,
lighting controls, equipment and appliances;
Materials & Resources: the storage and collection of recyclables, for
building reuse maintaining minimum of 40% of interior non-structural
components (adaptation/change of use), to reuse a minimum of 30% furniture
and furnishings, rapidly renewable materials and certified wood;
Indoor Environmental Quality: Low-emitting materials, sealants, adhesives,
paints, coatings, carpet materials, composite wood and laminate adhesives,
incorporating daylight into a minimum of 75% of spaces;
Innovation & Design Process: innovation in Design.
Source: U.S Green Building Council, (2006).
SUSTAINABLE INTERIOR DESIGN 31
LEED CI is one of the few systems available in the construction sector that has
a rating system specifically geared towards commercial interior design.
Moreover, LEED CI includes a section devoted to Indoor Air Quality in
commercial interiors- an area which, at the time of this writing, is lacking
comprehensive guidelines in Ireland, other than the Decorative Paints
Directive, which limits volatile organic compound (VOC) emissions.
Clients seeking LEED certification in North America-especially institutional
clients- is now the norm, with design firms integrating sustainable practices into
their work, paying for staff LEED exam fees, and rewarding them by sending
them to green building conferences (Jones, 2008). Sustainable design is not
considered an ‘add-on’ service in the US, but is becoming an integral part of the
design process (Jones, 2008). Although the comparison between Ireland and
the US may be unrealistic in terms of size, population, demographics and
industrialization, LEED CI is becoming increasingly successful and is an
insightful guide for interior designers in Ireland.
1.5 International Organization for Standardization (ISO)
The ISO contains a global set of standards that can be applied and understood
in every country. ISO 14000: Environmental Management holds the majority of
their sustainability-related standards which focus on minimizing environmental
impact (http://www.iso.org/iso/iso_14000_essentials, 2009). The standards also
address specific environmental aspects, including: labeling, performance
evaluation, and life cycle analysis (http://www.iso.org/iso/iso_14000_essentials,
2009). By being familiar with the ISO 14000 standards, interior designers will be
able to identify and control the environmental impact of their company’s
activities, products or services, improve its environmental performance
SUSTAINABLE INTERIOR DESIGN 32
continually, and implement a systematic approach to setting environmental
objectives and targets, all essential steps for forming a sustainable design
practice (http://www.iso.org/iso/iso_14000_essentials, 2009). It is within this
context that the ISO 14000 standards can benefit interior designers, helping
them to progress the development of their companies to become more
integrated in the sustainable design process.
1.6 The Environmental Preference Methodology (EPM)
The EPM was developed by Woon / Energie (now E/E) in 1991 for selecting
building components and materials (Anink, 1996). Various building projects at
the time highlighted the increasing demand for accessible, up to date
information on the environmental impact of building components and materials,
so a ranking system for the selection of building materials -according to
environmental preference- was developed (Anink, 1996). Cost or aesthetics are
not taken into account in the EPM assessment, and the ranking preferences are
based on environmental impact and environmental preference (O’Sullivan,
2009).
The EPM ranks materials according to their environmental impact, not based on
financial cost but on the following criteria:
-raw material availability
-ecological damage from extraction
-energy consumption including transport
-water consumption
-environmental pollution including waste
-health
-repair, reuse, recycle
Source: Haslam, M. (2009)
SUSTAINABLE INTERIOR DESIGN 33
Consideration is also given to the environmental effects of different materials,
with more sustainable options suggested, based on available information, which
can consist of Life Cycle Assessments (LCA) that have already been carried
out, or data provided by manufacturers or other surveys (O’Sullivan, 2009).
1.7 The Decorative Paints Directive (Directive 2004/42/EC)
Volatile Organic Compounds (VOCs) are compounds that vaporize (become
a gas) at room temperature and common sources that can emit VOCs into
indoor air include various building and furnishing materials (Irish Public Health
Institute, 2006). Some examples include: paints and lacquers, paint strippers,
building materials and furnishings, glues and adhesives, urea-formaldehyde
foam insulation (UFFI), pressed wood products (hardwood, plywood, wall
paneling, particleboard, fiberboard) and other furniture made with these pressed
wood products (BREEAM Offices, 2008). The Decorative Paints Directive
addresses the need to reduce the risk to the user and the environment due to
exposure to volatile organic compounds (VOC), by limiting their VOC content
(http://www.epa.ie/whatwedo/advice/air/decopaintsdirective/, 2009). The
Directive was enacted into Irish law by the Limitation of Emissions of Volatile
Organic Compounds due to the use of certain Paints, Varnishes and Vehicle
Refinishing Products Regulations 2007 (External link Statutory Instrument 199
of 2007) (http://www.epa.ie/whatwedo/advice/air/decopaintsdirective/, 2009).
The environmental impact of paint is based on its embodied energy, the VOCs
emitted during its lifetime, and waste disposal (Hartman, 2009). Manufacturers
are currently working hard to comply with the second phase of the directive,
which will go into effect in 2010, moving towards more water-based paints as
opposed to solvents (Hartman, 2009). Since VOCs pose a risk to human health
and the environment, interior designers must consider the VOC limits of paints
and finishes. By specifying finishes that have a low or ‘zero’ VOC content, a
designer is implementing a sustainable strategy that will improve indoor air
quality. Reading the content labels of interior products and having an
SUSTAINABLE INTERIOR DESIGN 34
awareness of this current environmental legislation is crucial for the
specification of interior finishes.
1.8 Material Certifications
The Forest Stewardship Council (FSC) is an independent, non-governmental,
non-profit organization that promotes the responsible management of the
world’s forests http://www.fsc.org/about-fsc.html, 2009). This certification
system is unique because it provides an internationally recognized, standard-
setting accreditation to companies, organizations, and communities who are
interested in responsible forestry (http://www.fsc.org/about-fsc.html, 2009). The
FSC label enables consumers and businesses to make purchasing decisions
that they know will benefit people and the environment, and it is nationally
represented in more than 50 countries around the world
(http://www.fsc.org/about-fsc.html, 2009).
Fig. 2: The Forest Stewardship Council’s global trademark
It is important for interior designers to be familiar with the three versions of
certification: first-, second- and third-party, and third-party certification- which is
the most credible (Whitemyer, 2007). When a dealer or manufacturer is making
direct claims about its product’s attributes it is first-party certification, or self-
certification (Whitemyer, 2007). Second-party certification may be done by a
trade association or vendor, and finally, for third-party certification, credible
SUSTAINABLE INTERIOR DESIGN 35
testing and labeling agencies must be nonprofit and have no direct connection
with the material or its manufacturer (Whitemyer, 2007).
Other notable certification schemes include, but are not limited to:
Green Spec Directory from Building Green, inc. (UK): A directory of
sustainable materials available in the UK (http://www.greenspec.co.uk/,
2009). Amongst the materials assessed are interior wall paints, varnishes
and flooring.
Sustainable Textile Standard, from the Institute for Market
Transformation to Sustainability (MTS) (US): developed with
manufacturers and other interested parties, this standard measures a
product’s performance based on a variety of environmental issues
(http://mts.sustainableproducts.com/standards.htm, 2009).
The Global Organic Textile Standard: The aim of this standard is to
define requirements to ensure the organic status of textiles, from the
harvesting of raw materials, through environmentally and socially
responsible manufacturing, up to labeling, in order to provide a credible
assurance for the end consumer
(http://www.imo.ch/imo_services_textile_gots_en.html, 2009).
The Global Ecolabelling Network (GEN): a non-profit association made
up of third-party, environmental performance recognition, certification and
SUSTAINABLE INTERIOR DESIGN 36
labeling organizations founded in 1994 to improve, promote, and develop
the "ecolabeling" of products and services
(http://www.globalecolabelling.net/, 2009). The GEN defines ‘ecolabeling’
as:
“...a method of environmental performance certification and labeling that is
practiced all around the world. A label identifies the overall environmental
preference of a product or service within a specific product/service category,
based on life cycle considerations. In contrast to "green" symbols or claim
statements developed by manufacturers and service providers, an ecolabel is
awarded by an impartial third-party in relation to certain products or services that
are independently determined to meet environmental leadership criteria.”
(Source: http://www.globalecolabelling.net/whatis.html, 2009)
Above: Examples of global eco labels that make up the GEN, comprised of national
and multinational third-party environmental performance-labeling organizations.
Clockwise from the top left: The Global Ecolabelling Network, Germany, Canada,
Australia, Croatia, EU (also for Luxembourg, Greece and UK), Hong Kong, United
States, Korea, Nordic % countries, Philippines, Spain, Sweden, Thailand, Hungary.
(Source: Winchip, 2007)
The Business and Institutional Furniture Manufacturer’s Association
(BIFMA): provides guidance for office furniture manufacturers and
suppliers of all sizes to establish and/or expand their environmental
management systems and include sustainable business practices (BIFMA,
2005). They insist that manufacturers and suppliers should implement and
publicly announce the following:
SUSTAINABLE INTERIOR DESIGN 37
An Environmental Policy;
The environmental aspects of the company – for example, their
energy or water conservation, recycling, etc.
Legal and other requirements –for example to subscribe to at least
one national or internationally recognized sustainable business
code or practice;
Objectives and Targets – for example to increase the use of
renewable raw materials within a certain timeframe.
Source: BIFMA Sustainability Guidelines 2005
These schemes are just a small sample of the numerous certification schemes
which represent the products and materials used within the interior design
industry. Each scheme listed here is a reliable representative of the
environmental certification industry itself, and many set extremely high
standards in terms of lowering environmental impact, product quality and
performance.
However, It can be very easy to announce an environmental policy or
certification for a product or material. Today, designers are often confused as to
how to get past all the ‘green washing’ that is coming onto the market. Not all
environmental certifications are equal and it is crucial that interior designers
understand how companies are testing, and exactly what they are validating
(Bonda, 2007). Only then will designers become truly aware of which
certifications are best to follow.
There is an endless amount of sustainability guidance available for building and
construction materials. This chapter has only assessed a selection of guidelines
that appear to have the most relevance to interior design within Ireland.
However, in conjunction with the environmental laws, regulations and building
codes discussed in this chapter, it is imperative that designers continue to ask
questions when specifying materials in a project: where is it from? How is it
made? What are the possibilities for reuse afterwards? It is also up to designers
SUSTAINABLE INTERIOR DESIGN 38
to inquire about the environmental issues of products, such as energy
efficiency, disposal, durability, toxins, transportation, regulations and
recyclables (Whitemyer, 2007). It is not enough for designers to only follow
guidelines without making inquiries into the many different environmental issues
associated with a product or material. No sustainability guide or certification
scheme should take precedence over a designer thoroughly knowing about the
materials and products they are specifying.
By enhancing environmental awareness, interior designers will be able to make
more environmentally responsible decisions in the design process. Ireland has
begun its focus on energy consumption within its built environment , yet there
still remains a void where critical information on sustainable materials,
furnishings and fixtures for interiors should be available. Perhaps if designers’
awareness was addressed and the design guidelines that apply to Ireland were
expanded to incorporate sustainable interior design, there would be a rise in the
implementation of sustainable solutions within the Irish interiors sector.
Ultimately, unless an interior designer has an understanding of the relevant
environmental regulations, legislation and policies in Ireland, the right choices
will not be made. Morally, designers may not feel obligated to commit their
professional practice to practicing sustainable design.
It is unlikely that there is going to be an abrupt shift in the way interior designers
work and implement sustainable solutions in Ireland. It will happen gradually-but
steadily- and any changes that occur will hopefully encourage more widespread
sustainable thinking within the interior design sector.
SUSTAINABLE INTERIOR DESIGN 39
C H A P T E R T W O_______________________
Literature Review
“True education is concerned not only with practical goals but also with values. Our aims assure of us of our material life, our values make possible our spiritual life.” - Ludwig Mies van der Rohe
Designers of all types are continually questioning their values and what is
important to them, in terms of what their professional and personal goals are.
Within the sector of commercial interior design, sustainability is receiving more
attention now than ever before. This may be due to the fact that on a global
level, governments are responding to the detrimental environmental impacts
that are associated with the construction industry. There is now a need to
change behavior and how interior designers consider the environmental impact
of their work on a moral level. Yet to what extent is assistance and guidance
provided in order to do so?
There are various environmental regulations and guides that can assist interior
designers, as discussed in the last chapter. However, much of the focus and
comprehensive literature on the subject of sustainable interior design that has
emerged in the last five years is U.S-based. In addition,
sustainable interior design requires continuous education, and it is a subject
whose presence is not very evident in Ireland’s interior design programs. There
is no doubt that sustainability is going to become more of an issue for this
SUSTAINABLE INTERIOR DESIGN 40
sector in Ireland because it is directly related to the built environment.
Therefore, by raising awareness, interior designers can become more equipped
to implement sustainable solutions in their projects.
For example, the emerging potentials of energy and water conservation,
renewable technologies and materials, and sustainable manufacturing
processes are just a few of the areas that if familiar with, could broaden a
designer’s way of thinking, and benefit Ireland’s construction industry. The topic
of sustainability can be incredibly overwhelming, and this obstacle of confusion,
combined with a lack of guidelines in Ireland that are focused on interiors,
demonstrates the need to create more awareness on the topic. This
dissertation aims to highlight that if the awareness of sustainable interior design
is not improved in Ireland, a change in behavior where designers consider the
environmental impacts of their work will be less likely, and slower to occur. This
lack of awareness and lack of guidance is also addressed by some of the
authors reviewed in this chapter, some of whom are now considered to be
heading the movement of sustainable interior design in the U.S.
Environmentally Responsible Design: Green and Sustainable Design for
Interior Designers, by Dr. Louise Jones (2008)
In this recent book, Dr. Louise Jones amalgamates a collection of her writings
on sustainable interior design alongside contributions from other design
professionals, on various environmentally responsible design issues. The book
addresses global sustainability, sustainable development, and provides an
interesting timeline of human and environmental interactions, within the context
of the built environment. In this discussion on human behavior, Jones explains
that a paradigm shift is needed from environmental irresponsibility to
environmental responsibility, which will challenge the range of professionals
responsible for the design and construction of the built environment. Jones also
explains that the paradigm shift from unsustainable to sustainable design and
construction is also challenging those responsible for the built environment
(Jones 2008). Ultimately, Jones defines environmentally responsible design as
SUSTAINABLE INTERIOR DESIGN 41
an integrated process: a joint effort from government, planners, developers,
financiers, architects, engineers, interior designers, construction managers,
code officials, landscape architects and facility managers, as well as trades
people (Jones 2008).
According to Jones (2008), environmentally responsible design, or sustainable
interior design, as it is referred to in this dissertation, should encompass the
following principles:
- Respect for nature and natural systems
- Respect for people and the goal of creating healthy habitats
- Respect for the cycle of life, which includes that in nature all waste
products are useful, and
- respect for the conservation of natural resources
By introducing the concept of using nature as a model for sustainable design,
the book proceeds to present in depth discussions by various experts on some
of the topic’s most critical areas, such as indoor air quality, sustainable lighting
design, and efficient energy and water use.
Another key issue that Jones highlights is the lack of information available
relating to sustainable interior design:
“The specification of furnishings, finishes and equipment (FF&E) that are green (i.e. protect people’s health and well being) and sustainable (i.e. protect the earth’s health and well being) demonstrates environmental responsibility. Although there are currently several groups who are producing information regarding green and sustainable building construction methods and materials, ( e.g. the US Green Building Council), no one is concentrating on a comprehensive understanding of environmentally responsible FF&E. This lack of focus on interiors has created an information void for architects, interior designers and facility managers who want to specify environmentally responsible FF&E for interior environments.”(Jones, 2008) the fact that the current green building standards are encouraging the industry
to look at buildings as long-term investments is encouraging, and has the
SUSTAINABLE INTERIOR DESIGN 42
potential to encourage interior designers to follow the same principles. The
economics of sustainable building is addressed, stressing the importance of
how small decisions implemented at initial construction stages can end up being
financially rewarding over the lifetime of the building, for example, by reducing
energy or water costs. Jones states that a life-cycle approach to interior design
involves analyzing interior finishes and furnishings: from their specification of
raw materials to the end of their use. In addition to their raw materials, the
manufacturing methods, transport, installation, maintenance and disposal of
these items must also be considered (Jones, 2008).
Predominantly focusing on the United States, the collaboration of authors then
delve into evaluating interior finishes and furnishings, assessing various
environmental building certifications, evaluation instruments, specifications for
products, concluding with a selection of sustainable interior design case studies.
Jones expertly highlights the entire process for sustainable design, from
specification, to use, to re-use, to end-of life issues. End of life of course
addresses the concept of waste, where high levels of waste are generated from
the continuous re-furbishment and consumption patterns of the interiors sector,
as a result of keeping up with trends and popular/material culture.
This book is an excellent in-depth look at the many complex environmental
issues that need to be considered by interior designers. By using the cycle of
nature as a model for sustainable design, Jones draws attention to the
philosophical arguments of a designer’s moral obligation to protect the natural
environment.
Sustainable by Design, by Stuart Walker (2006)
Sustainable by Design takes an novel approach to the fundamentals of design.
Primarily focused on product design, Walker explores the philosophical
meaning behind sustainable design and its practice. He challenges the ways in
which product designers are practicing, what really matters and the obstacles
SUSTAINABLE INTERIOR DESIGN 43
that designers encounter when attempting to design in a more sustainable way.
The book proceeds to discuss our relationships with ourselves, the
environment, and material culture. Stuart uses examples of historical artifacts
and folk/craft traditions as models of inspiration for sustainable designers.
One of the most interesting arguments that Stuart makes is in addressing our
fascination and obsession with material culture. He discusses the relationships
that develop between fashion, trends and sustainability, and whether or not the
world has the capacity to overcome the many obstacles that result from them.
He questions our awareness of this relationship, this ‘saturated culture’ that we
continue to be a part of, -almost an ongoing cycle of creating, wasting,
consuming, wasting, etc.
Although Walker’s ideals are focused mainly on product design, they can still
benefit all designers, especially those who design furniture for interiors. from
the concept stage to the finishing materials chosen for an interior, designers are
too often influenced by the current trends of the moment.
the innovative, timeless –‘trend-less’- designs of a Le Corbusier chaise-longue,
or the interior of Mies Van der Roe’s Barcelona House, that forever will remain
design classics- unrepresentative of the most popular trends of their time- that
make the biggest and immortal statements. Designs that epitomize functionality
and quality, durability and endurance and are a direct result of form following
function.
Sustainable Commercial Interiors, by Penny Bonda and Katie Sosnowchik
(2007).
Penny Bonda is a LEED accredited professional who has been an active
member of the green building industry since its early stages, pioneering the
development of many accepted practices and recognized standards in the
sustainability movement (http://www.interiordesign.net/blogger/3534.html, 2009)
. Some of her prestigious professional titles include founding chair of both the
SUSTAINABLE INTERIOR DESIGN 44
U.S. Green Building Council committee for LEED Commercial Interiors and the
American Society of Interior Designers (ASID) Sustainable Design Council. She
is also a principal developer of REGREEN, the USGBC/ASID green residential
renovation and interior remodeling program. originally trained as an interior
designer, Bonda chose to expand her expertise into the areas of green
business practice, materials, evaluation, application, training and leadership
((http://www.interiordesign.net/blogger/3534.html, 2009). Sustainable
Commercial Interiors is one of her most highly regarded published works
(http://www.interiordesign.net/blogger/3534.html, 2009).
In the book, Bonda collaborates with Katie Sosnowchik to deliver
comprehensive coverage of many of the same topics as Louise Jones, but with
a more introductory focus -perfect for practicing designers who are only
beginning to skim the surface for ways to implement sustainability into their
practices.
Bonda’s work includes an informative overview of some of the most eco friendly
products that are currently on the market, especially in the areas of furnishings
and finishes (lighting, appliances, toilet and faucet options, and finishes relating
to indoor air quality such as paints). The comparisons of the individual
characteristics, efficiency and performance of various plumbing fixtures and
lighting systems are accompanied by well-presented data relating to specific
models.
Comprehensive comparisons of materials, and the debate of natural vs. man-
made is discussed in detail. in the chapters on material selection for furnishings
and finishes, Bonda reveals the many benefits behind making ecologically
sound choices, by explaining the environmental trade-offs of certain products.
Moreover, she dispels the many myths and misconceptions that are commonly
associated with sustainable products and materials, in terms of their durability,
longevity and aesthetics.
Sustainable Design for Indoor Environments, by Susan M. Winchip (2007)
SUSTAINABLE INTERIOR DESIGN 45
In the comprehensive textbook, Sustainable Design for Indoor Environments,
Susan Winchip focuses on ‘environmentally responsible design’, presenting
similar major environmental concerns for interiors as those addressed in the
previously mentioned texts. The introductory chapters provide a thorough
foundation of environmental issues, including the consumption of natural
resources, indoor air quality and contaminants, environmental building
regulations, and a detailed summary of materials, finishes and furnishings.
The book also includes detailed information regarding the mechanical systems
of interiors, such as lighting, yet lacks in depth information on the various types
of water-efficient plumbing fixtures.
Winchip provides a great guide to the distinction of environmental certification
and eco labeling, with a focus on LEED CI when referring to the specific
standards that are most applicable to for interior designers. For example, for
each interior design topic addressed throughout the text, the LEED CI standard
of compliance is presented and a means in which it might possibly be adhered
to.
Finally, there is only a minimal amount of focus on innovativion in design, for
example, the ability of a designer to continue inspiring and developing creatively
whilst implementing sustainable solutions. It is a very practical guide and most
useful for well-seasoned designers who are looking for a quick how-to guide on
specific design solutions. It is crucial for students studying interior and furniture
design in third level education. Any professional designer would find this text
perfect for re-working the design processes of their design practice, with an
entire section focused on integrating sustainability with the design process.
The works reviewed and referenced in this dissertation contain a large quantity
of detailed information on the many issues associated with sustainable interior
SUSTAINABLE INTERIOR DESIGN 46
design. However, the majority of this previous research that has been
undertaken has been done so predominantly by US-based authors, with
virtually no research into sustainable interior design being completed within
Ireland -apart from a handful of Irish interior designers who may specialize, or
have a specific interest in, sustainability within the interior design sector.
Therefore, the findings of this dissertation and the information that is highlighted
should be of value to Irish interior designers. This dissertation should also be
interpreted solely as an introduction to the benefits and importance of
implementing sustainable solutions when designing interior spaces. Literature
reviewed was selected for its content relating to the foci of this dissertation.
Moreover, all literature reviewed is not restricted to the publications discussed in
this chapter. There is an abundance of research available on this topic that
focuses on the wide range of issues that comprise sustainable interior design.
Sustainable interior design encompasses much more than the main discussion
topics of this dissertation.
SUSTAINABLE INTERIOR DESIGN 47
C H A P T E R T H R E E___________________
Energy Efficiency: Lighting and Water “Perhaps in 30 years it will be interesting to come back and speak about the beauty of a chair or a lamp, but today that seems a bit obscene. Even during the time it takes to do this interview, people will die from a lack of water. We must try to stop design for design's sake. Design has always been political, and now more than ever we must focus on new goals, which I call democratic ecology.” -Philippe Starck, renowned interior and product designer
For the sake of the planet and more importantly for the moral obligation to save
human life, democratic ecology must be given more consideration by design
professionals. Interior designers must implement sustainable solutions for
certain mechanical systems, such as lighting and plumbing fixtures. By doing
so, energy and water consumption can be optimized and natural resources
conserved in a responsible way.
According to the Siemens Research Project on Ireland, ‘Sustainable Urban
Infrastructure’, more efficient lighting in buildings could lead to an annual
reduction of 0.19 Mt CO, and save approximately €78m annually on their
SUSTAINABLE INTERIOR DESIGN 48
energy and maintenance costs. Upgrading to more efficient washing machines,
dishwashers, fridges, and other appliances could also provide a further
reduction of 0.12 Mt CO, resulting in annual energy savings for investors of
€24m (Siemens, 2009). These are some of the major components that are
frequently specified by interior designers. By becoming more familiar with
emission lowering properties and cost savings, designers may be more inclined
to specify more energy- saving products.
Likewise, the report provides figures for water reduction potential, based on
more efficient water fixtures. Dublin faces future potential water shortages and
needs to consider reduction options (Siemens, 2009). Irish commercial
businesses are charged water rates, which creates the incentive to consume
less water. Siemens stated that the implementation of water-saving devices
such as dual flush toilets and aerated taps could lead to a combined saving of
over 2.5 million cubic meters of water by 2025 (Siemens, 2009).
The building sector is a major consumer of energy, accounting for
approximately 40% of Irish energy consumption.
(http://www.sei.ie/Your_Building/, 2009). Therefore, efficient lighting systems
have a major role to play in conserving energy. By implementing energy
efficient lighting solutions, one is also conserving the natural resources which
are being used to generate electricity, and reducing the pollutants that are being
emitted from those various power plants (Winchip, 2007).
Fig.3 is from Ireland’s National Energy Efficiency Action Plan 2009-2020, and
illustrates the potential economic efficiency savings from lighting within the
commercial sector. It is obvious from this that the commercial sector in Ireland
holds strong potential for economic savings by conserving energy through more
efficient lighting:
SUSTAINABLE INTERIOR DESIGN 49
Fig.3: Energy saving potentials in Ireland The above graph clearly indicates that commercial lighting within the
commercial sector is one of the largest energy consumers within the
commercial sector. The graph shows that the potential for energy savings in the
commercial sector is far greater than that of the residential or industrial sectors.
Therefore, designers implementing energy efficient lighting solutions in
commercial interior design would be extremely beneficial.
3.1 Interior Lighting Systems: Bulbs
The initial cost of energy efficient bulbs such as compact fluorescent lamps
(CFLs) is usually more than other types of lamps which consume larger
quantities of electricity. Many people will opt for the cheaper bulb, yet these
bulbs have a short lifespan and more resources are used to replace them, thus
more unnecessary waste is created and sent to landfill. Waste can be
particularly hazardous from lamps since some can contain materials such as
mercury (Winchip, 2007).
A lighting system consists of various components: lamps-or bulbs, luminaries,
fixtures, ballasts, controls, etc. Each component should be energy efficient, and
SUSTAINABLE INTERIOR DESIGN 50
compatible with each other (Winchip, 2007). There can also be huge differences
between the lighting performances of different manufacturers. However, aside
from an interior designer focusing on energy efficient artificial lighting, natural
daylight should also be a designer’s priority. Maximizing natural light to its full
capacity so as to illuminate interiors as much as possible is an integral part of
designing any lighting plan. The natural daylight that infiltrates a space should
be assessed in detail so as to ascertain sunlight patterns.
The type of bulb will determine the amount of energy consumed. Properties to
be considered by the designer are a lamp’s color, efficiency, lifespan, output
and cost (Winchip, 2007). Sustainable Energy Ireland’s (SEI) Power Of One
campaign lists choosing energy efficient light bulbs over traditional light bulbs as
one of their top ten energy saving tips
(http://www.entemp.ie/trade/environment/phasingoutofincandescentlightbulbs.ht
m, 2009).Energy efficient lighting can also aid in obtaining an improved rating
on a BER certificate (Building Energy Rating), and demonstrate Corporate
Social Responsibility (CSR) (Danlers, 2008). Part L of the Irish building
regulations requires certain minimum energy efficiency and energy efficient
lighting will aid enormously in compliance (DOEHLG, 2008). In addition,
renewable energy sources should be used to power a building’s lighting
systems where possible (Winchip, 2007). The types of renewable energy
systems that work well in most buildings are systems powered by wind turbines
and photovoltaic roof panels.
3.2 Types of Light Fittings
Compact Fluorescent Lamps (CFLs) are the energy efficient alternative to
traditional light bulbs. CFLs use almost 80% less electricity than ordinary light
bulbs, last up to 15 times longer, and can save up to €170 over the lifetime of
the bulb
(http://www.esb.ie/esbcustomersupply/residential/energy_efficiency/cfl_light_bul
bs.jsp, 2009)
SUSTAINABLE INTERIOR DESIGN 51
The phasing out of incandescent light bulbs has been implemented through the
EU Regulation on non-directional household lamps (light bulbs), under EU
Regulation (EC) No 244/2009. Ireland’s Department for Enterprise, Trade and
Employment describes the aim of the new regulation will ensure that,
“Inefficient incandescent light bulbs will be phased out throughout Europe with effect
from the 1st September 2009 and will be replaced by more energy efficient alternatives
such as halogen lamps and compact fluorescent lamps (CFLs).”
(http://www.entemp.ie/trade/environment/phasingoutofincandescentlightbulbs.htm,
2009)
The aim of the Regulation is to remove the most inefficient light bulbs from the
market and replace them with more energy efficient options, which will last
longer and consume less energy, lowering environmental impact. After an
energy efficient bulb type is selected, designers must ensure that they select
luminaries that will maximize the distribution of lumen output, e.g. direct,
indirect, diffused, etc (Winchip, 2007).
The following table is a brief overview of various bulb types, comparing their
efficiency in regard to interior design applications:
Table 2:
Light bulb energy efficiency comparison for interior applications
Incandescent
bulb
Incandescent bulbs are one of the oldest forms of
electrical light sources, whose operational components
have not changed since their invention by Thomas Edison
and Joseph Swan (Winchip, 2007). An electric current
heats a tungsten filament which creates light yet this
method uses only 10-15% of the energy which it
consumes for illumination; the remaining 85-90% percent
goes towards the heating of the filament, and is therefore
SUSTAINABLE INTERIOR DESIGN 52
an unsustainable source of energy use for lighting
(Winchip, 2007). Eventually, the filament becomes
destroyed by the heat and the bulb burns out.
Halogen Bulb
From the incandescent family, yet have a regenerative
cycle which continues to redeposit tungsten onto the
filament, prolonging the bulb life and making it that much
more efficient than regular incandescent bulbs (Winchip,
2007).
Fluorescent
Bulb
Much more efficient than incandescent bulbs, consuming
approximately 80% less energy and lasting up to 18 times
longer, with some lasting 20,000 hours. In addition, they
generate very little heat and there have been various new
models introduced onto the market which continue to
exceed previous models’ efficiency ratings (Winchip,
2007).
Compact
Fluorescent
Lamp (CFL)
Incorporate the efficiency of fluorescent bulbs for
incandescent applications; available in a wide range of
shapes and sizes, and basically bending the tube shape of
the fluorescent bulb into a more traditional shape creates
CFLs (Winchip, 2007).
High-intensity
discharge
(HID) bulb
Extremely efficient electrical light source. Most efficient
types are metal halide and high-pressure sodium.
Excellent choices when requiring high efficiency, long life
and economic savings. Some color-rendering problems.
SUSTAINABLE INTERIOR DESIGN 53
Light-Emitting
Diodes (LED)
Greatest potential for energy efficient lighting in interiors.
Still relatively new technology. Excellent for very
focused/directional lighting. Excellent color saturation.
Long life of up to 100,000 hours. Ideal for decorative and
ambient applications. Producing LEDs in an attractive
white color has been challenging. Low lumen output.
Some LEDs can generate a lot of heat which may need to
be drawn out so as not to affect thermal comfort. Every
year the technology advances and improves (Winchip,
2007).
In summary, the bulb manufacturing industry has been one of the most
responsive in terms of addressing the need for energy efficient options in the
past decades (Jones, 2008). Because of this, selecting the right bulbs has
almost become a more complex issue for designers, due to the wide range of
bulb types available that promote energy efficiency. Most important, however,
are the end-use criteria when selecting a bulb: to reduce the hazardous waste
in bulbs (Jones, 2008). Also very important is their lumen output, light
characteristics, patterns, physical size, lifespan, ease of control, initial cost,
maintenance and auxiliary components (Jones, 2008). A detailed description of
the various bulbs available within each of the categories described above is
beyond the scope of this dissertation, so an overview is merely presented. It is
imperative that interior designers investigate the most energy efficient options
within each bulb category/type.
3.1 Interior Lighting Systems: Controls
Highly efficient lighting fixtures when combined with the right controls can
achieve further power savings on top of choosing the right bulbs. Daylight-linked
dimmers, or photo sensors, measure light within the space and make
SUSTAINABLE INTERIOR DESIGN 54
adjustments (Lite Times, 2009). Photo sensors focus on incoming daylight,
adjusting to the sufficient light levels needed by using dimmers. Even more
efficient would be to choose a closed-loop photo sensor that reads electric light
and daylight –in preference to an open-loop sensor that only reads the daylight
(Jones, 2008). The dimmers change as natural light and electric light levels
change within any building, from a small office to an entire floor (Lite Times,
2009). For example, light fixtures located adjacent to windows which allow
sufficient amounts of natural daylight to infiltrate into a space will dim
accordingly to pre-set light levels required by occupants. Theses sensors can
also sense the portion of light reflected from a surface and dim accordingly. A
perfect application for photo sensor systems is within retail design. Many retail
outlets and stores incorporate window displays to push products and advertise
current promotions, which require a substantial amount of directional lighting. A
significant amount of this lighting can sometimes be wasted during certain times
of the day, should a large quantity of direct sunlight infiltrate the window display.
By incorporating a daylight sensing system into the window, the lights will dim
accordingly to the amount of natural daylight infiltration and re-illuminate as
natural light diminishes.
Yet another potential application for retail design for light sensors is in fitting
rooms, where infra-red occupancy sensors can switch on and off when
occupied, stimulated by movement (Fig. 4) (Lite Times, 2009)
Fig. 4: Above clockwise from left to right: Enough daylight, occupied: LIGHTING OFF, enough daylight, unoccupied, LIGHTING OFF, Night, occupied, LIGHTING ON, night, unoccupied, LIGHTING OFF. Source: Danlers (2008), Introduction to Energy saving Lighting Controls
SUSTAINABLE INTERIOR DESIGN 55
Designers and manufacturers of lighting controls in the UK, Danlers Lighting,
calculated a cost saving analysis based on using their PIR occupancy switch in
a single office:
Lighting load of 0.576kW
4 hours per day of lighting saved
For 250 days per year
Annual saving of £29 from electricity bill
This represents a 40% saving on electricity
Payback period of approximately 20 months
Life expectancy of approximately 20+ years
Source: Danlers (2008), Introduction to Energy Saving Lighting Controls
Other lighting controls that can enhance energy efficiency include:
Photocells: switch on and off according to daylight level
Reset photocells: manual on and off by daylight level
Daylight linked dimmers: dim lights according to daylight level
Occupancy switch without photocell: switch on when occupied, off when
unoccupied
Occupancy switch with photocell: switch on when occupied and insufficient
daylight, otherwise off
Occupancy switch with daylight linked dimming: switch on when occupied and
dim according to daylight level
Source: Danlers (2008), Building Regulations and Lighting Controls
SUSTAINABLE INTERIOR DESIGN 56
The above listed types of lighting controls are capable of providing the correct
light, in the correct amount, at the correct place and at the correct time.
commercial application types that suit energy saving lighting controls also
include, but are not limited to, offices, hospitals, schools, hotels, restaurants,
recreational facilities, corridors/stairwells, W/C, etc (Danlers, 2008). Part L2 of
the Irish Building Regulations also promotes the use of lighting controls to
achieve energy efficiency, with the controls being based on occupancy and the
maximization of the available daylight
(http://www.sei.ie/Your_Business/Accelerated_Capital_Allowance/Technical_Gu
idance/Lighting_Controls/, 2009).
Sustainable Energy Ireland (SEI) offers some general technical guidance in
regard to lighting controls, informing the public and businesses of the benefits of
their use. According to the SEI, lighting controls can:
- Dim luminaires in response to daylight (daylight harvesting/constant light)
- Dim luminaires in response to lumen depreciation of the luminaire and
room surfaces (maintained luminance)
- Provide the correct light level for different tasks and circulation areas
- Provide presence detection to turn lights off if the area is unoccupied
- Prohibit the artificial lighting from coming on if daylight is abundant
- Be linked to time-based controls to turn lights on or off depending on the
time of day
- Be used to changing the color temperature of light, in response to natural
light and the body’s circadian rhythms.
Source: Sustainable Energy Ireland’s Technical Guidance for Lighting Controls,
http://www.sei.ie (2009)
Obviously, window treatments and blind systems that effectively direct natural
light will also preserve a lighting system’s energy use. Choosing the right
SUSTAINABLE INTERIOR DESIGN 57
combination for energy efficient lighting requires an appreciation for the
characteristics of the different lamps, bulbs, systems and controls available.
Interior designers must also carefully consider light position and maintenance.
For detailed guidance on energy efficient lighting specification, designers should
refer to professional bodies such as The Chartered Institution of Building
Services Engineers (CIBSE) and the American Society of Heating, Refrigerating
and Air-Conditioning Engineers (ASHRAE) or other specialist sources on
lighting design (SEI, 2008).
By implementing a combined approach to lighting that consists of the
appropriate energy efficient bulb and fixture, along with the most efficient
controls appropriate to the context, the benefits can be plentiful, in terms of
power consumption, cost savings, no compromise in light quality or
appearance, and low maintenance over a long life span.
3.2 Water Efficiency
As water demands increase due to rises in populations and the global climate
changes, there is a strong possibility that Ireland is going to become more
susceptible to water shortages (European Environment Agency Report, 2009).
This could have devastating social, economic and environmental effects. Poor
quality drinking water, increased water charges, food shortages and depleted
Irish water resources are just a few of the effects that might occur. In order for
Ireland to combat any future water shortages, sustainable water management is
essential. More efficient use of water, raising awareness and promoting a
change in behavior towards water use are all important methods for tackling
water conservation (EEA Report, 2009).
There have been many water efficient products introduced recently that can
contribute to a building achieving sustainable recognition, such as BREEAM
credits and hence aiding the building to achieve a higher overall BREEAM
rating. New sustainable strategies that deserve much more attention from
interior designers, in particular when designing with new builds, are renewable
SUSTAINABLE INTERIOR DESIGN 58
water systems, such as capturing rainwater or establishing grey water systems
to use in toilets (Bonda, 2007). Since the water that is used to flush toilets can
be potable, the key tactic is to reduce the amount of potable water being flushed
as much as possible, as well as installing energy efficient appliances such as
dishwashers, low volume toilets, or small pantry sink faucets that have flow
restrictors such as aerators (Bonda, 2007).
However, whether a designer is refurbishing a new or existing building, huge
reductions in water consumption can be achieved by specifying the right
plumbing fixtures. Water fixtures in interiors can unnecessarily consume
massive amounts of water. For example, the flushing of urinals can account for
20% and 30% of a commercial organization's annual water consumption (Water
Efficient Solutions, 2009). Thankfully, product development within the water
fittings industry has seen a significant amount of innovative bathroom
technologies come onto the market, especially because customer satisfaction in
bathroom design is crucial, especially within the hospitality sector.
3.3 Low Volume and Waterless WCs
Some of the new toilets available today are excelling at how little water they
require. Cleverly shaped water channels and fast flow sumps are now being
created to flush fluids with as little as 2.6 litres of water and still comply with all
current standards ((Water Efficient Solutions, 2009). These new efficient WCs
are a huge improvement on the current average WC flushing amounts, some of
which require 9 litres per flush (Water Efficient Solutions, 2009).
Ever since dual flush and low flush (less than 6 litres per flush) toilets came
onto European markets, the amount of water used per flush has decreased
dramatically (EEA Report, 2009). Dual flush toilets have two flushing systems
that use different quantities of water, depending on flushing needs (Winchip,
2007).
SUSTAINABLE INTERIOR DESIGN 59
In some cases, under UK building standards, for example, regulation has also
enabled positive changes; the maximum cistern volume allowed has fallen
from over 12 litres in the 1950s to just over 4 litres today (EEA Report, 2009).
Cistern replacement devices are inexpensive and can also reduce flush
volumes, typically by about 1 litres per flush (EEA Report, 2009).
According to the Environmental Preference Method (EPM), the most
sustainable method for choosing WC suites is as follows (note: the Gustavsberg
WSS toilet system uses a flow enlarger, where waste water is drained by using
only 4 litres per flush (Anink, 1996) :
Preference 1
Gustavsberg WSS
system
Preference 2
Adjustable flush
Preference 3
Dual flush
Not Recommended
Fixed flush
Source: Anink, Boonstra et al. (1996) Handbook of Sustainable Building: An Environmental
Preference Method
Two other recent technologies are waterless and vacuum toilets, and
waterless urinals. The most common form of waterless toilet is a
composting toilet, which composts the waste, which must usually be
removed manually (EEA Report, 2009). However, composting toilets are
best suited to public buildings in remote sites without a water supply and
therefore may not suit all commercial interior design projects. However, it is
an option that should be promoted and implemented if suitable. Vacuum
toilets pull waste through the toilet by using a powerful vacuum, together
with only about 1L of water to rinse the bowl, thus reducing the actual
amount of sewage that is produced (EEA Report, 2009). Since the vacuum
toilet uses only minimal amounts of water, there is a great potential should
the building have rainwater and greywater recovery systems incorporated
SUSTAINABLE INTERIOR DESIGN 60
into it, producing even greater water savings (Water Efficient Solutions,
2009).. Also reliable and effective are the No-Touch WC flushing devices
that operate by infra-red sensors. Their benefits from the ‘no-touch’ feature
include hygiene, ease of use and aesthetics, with some models saving
30%-40% of water when retro-fitted to old larger cisterns (Water Efficient
Solutions, 2009).
In the past, many older urinal installations did not have controls and would flush
continuously, wasting significant volumes of water in public and commercial
buildings (EEA Report, 2009). Waterless urinals are a perfect example of water
conservation through efficiency. These small units are cistern-free and cistern-
connecting pipe work-free, offering further savings on plumbing maintenance
and replacement as well as water use (Water Efficient Solutions, 2009).
Waterless urinals consist of a one way valve that allows liquid to pass through,
then seal itself as soon as the flow is complete, also sealing off odours (Water
Efficient Solutions, 2009). Estimates have shown that the flushing of urinals
account for a minimum of 20% of a commercial organization’s water
consumption, based on a regular single urinal’s half-hour flush pattern which
consumes almost 125,000 litres of water per year (Water Efficient Solutions,
2009). Moreover, research undertaken by the Building Research Establishment
(BRE) has shown that water-free urinals are less liable to contamination than
those with a regular water flush, because the lime scale from tap water that
absorbs urine, generating bacteria is not present (Water Efficient Solutions,
2009). Interior designers are in a unique position to recommend water free
units to their clients, so as to avoid high financial repercussions should water
charges increase over the coming years.
3.4 Faucets and Taps
Some of the most recent developments of faucets and taps have been focused
on retaining water speed and pressure but with reduced water flow. Showers
and taps can also aid in reducing water use considerably by aerating the water
flow, helping to simulate the feel of a power shower yet without requiring high
SUSTAINABLE INTERIOR DESIGN 61
volumes of water, and aeration can also be applied to water flowing through
taps (EEA Report, 2009). Thermostatic mixing valves in both showers and taps
are useful for maintaining selected temperatures, resulting in considerable
savings of both water and energy (EEA Report, 2009). Finally, taps with infra-
red sensors which provide water only when an object is detected beneath them,
can result in water savings of 70 % or more (EEA Report, 2009).
No-touch automatic taps can save between 50% and 65% of water
consumption. These are another effective means of water conservation
because they provide a very convenient solution for hand washing, with benefits
that include ease of use, safe pre-set temperatures, hygiene and aesthetics
(Water Efficient Solutions, 2009). Similar to this product is the self-closing push
tap, which is also more hygienic than twist or lever taps since they shut off
automatically without the need for further contact, saving 40% water (Water
Efficient Solutions, 2009). This tap design is a critical feature in public toilets so
as to ensure users do not leave taps running, eliminating the risk of flooding.
Some tap manufacturers have developed a new technology described as ‘click-
stop’, where an internal ceramic valve provides an audible click to the user, to
alert them is the tap is on full or half flow ((Water Efficient Solutions, 2009). For
example, if the user needs to fill the washbasin a full flow can be chosen,
whereas if the user is simply brushing their teeth, a half flow would be sufficient
(Water Efficient Solutions, 2009).
3.4 Water-Conserving Design Features
In addition to the plumbing fixtures themselves, there are a number of
approaches to sustainable water use and reducing water consumption,
preserving natural water resources and reducing impact on waste-water
treatment facilities. Water distribution and disposal systems from buildings
should now be replaced by more environmentally responsible alternatives.
SUSTAINABLE INTERIOR DESIGN 62
These types of systems would enhance the efficiency of sustainable water
fixtures. It is important that interior designers are familiar with the many
alternatives that are now available for buildings as a whole. Two notable
examples are:
1. Rainwater capture: designs that capture rainwater and store it in
catchment systems to use in non-potable applications;
2. Graywater recycling: systems that collect and recycle water from
activities such as bathing, laundry and dishwashing for non-potable
applications like flushing toilets;
(Source: Jones, 2008)
In order for the built environment to sustainably manage its water consumption,
it will depend strongly upon raising awareness of water conservation issues
amongst the interior designers who specify water fittings. This awareness could
be promoted in a similar fashion to that of raising awareness of energy
conservation: websites, school education programmes, local authority leaflets
and the media (EEA Report, 2009). Hotels can also play an important role by
helping guests to make informed choices about water efficiency and
conservation (EEA Report, 2009). It is imperative than when considering
products for replacement, water efficient fixtures are implemented, and this will
only occur if interior designers understand the impact of their current practice on
water resources and changing their behavior towards it. The promotion of new
water conservation technologies within the water fittings industry will play a vital
role in Ireland, in order to implement sustainable water management nationally
(EEA Report, 2009). Thankfully, this industry has come a long way in terms of
advancement and efficiency and it continues to progress.
SUSTAINABLE INTERIOR DESIGN 63
Sale control of water fittings would be desirable in order to enforce water
conservation. Perhaps Ireland must look towards water supply regulations that
would encourage the use of water efficient fittings that can lower environmental
and financial costs? An initiative similar to the ban on incandescent light bulbs
that would phase out inefficient water fittings would be an extremely positive
reaction by government, and highlight the progress of water efficient
technology. This could also be implemented by way of a water-efficient labeling
scheme, highlighting the products recognized by government that assure
consumers the product meets minimum water efficiency standards. Innovative
technologies will continue to be developed and the use of electronics will be
combined on a greater scale than ever, such as digital showers, and electronic
controls for taps (Water Efficient Solutions, 2009).
The environmental awareness of an interior designer will dictate their decisions
when they are choosing products that operate in conjunction with various
mechanical systems in buildings. Minimizing energy and water consumption are
two key areas where interior designers have a substantial amount of input, and
by choosing the most efficient option they will be lowering a building’s
environmental impact as a whole. Although there has been a great deal of
attention in Ireland devoted to energy conservation, the same cannot be said
about Ireland’s promotion of water conservation. Perhaps if awareness in this
area was raised on a national level, designers and users alike would be more
inclined to consider their actions. However, should water efficient fittings not be
specified in buildings and/or interiors, a national campaign would do little to
conserve water. Interior designers are the professionals who can ‘make it
happen’, offering users no other choice but to interact with the products that
they specify. This is certainly an area that should be further examined and
explored and both energy and water conservation should be high on the priority
list of any interior designer, in order to successfully adopt sustainable design
practice.
SUSTAINABLE INTERIOR DESIGN 64
C H A P T E R F O U R_____________________
Choosing Interior Finishes and Furnishings “I don’t think that brand new materials are going to be the answer, I think it’s about finding ways of using existing ones in new ways. One of the 21st century materials which has got potential in engineering terms is bamboo, given that in some uses it’s stronger than steel and that it grows a meter a day,…its one of those materials which really is a miracle material and it needs to be worked in more modern ways than it has been historically…” -Tom Dixon renowned furniture and product designer
When choosing interior finishes and furnishings, it is vital that interior designers
know where to find the right answers. Sustainable design is all about
implementing new techniques and new ways of thinking; new trains of thought.
Designers are no longer designing for the user, but for the environment.
Interior designers must carefully research the environmental attributes and
possible health effects, of finishes and furnishings, prior to specification. In
SUSTAINABLE INTERIOR DESIGN 65
addition, once finishes and furnishings are installed, maintenance must be
carefully considered (Jones, 2008). Numerous recommendations are discussed
in this chapter, in terms of choosing the most sustainable materials for finishes,
such as flooring, and also how to select finishes based on their impact on
indoor air quality (IAQ). Embodied energy is also an area interior designers
must consider, as it takes into account the energy associated with raw material
extraction, manufacturing, distribution, and the life of a product (Jones, 2008). It
is necessary to consider the embodied energy of a product in order to
understand its true environmental advantages. For example, a product may
contain environmentally responsible materials, but consume significant amounts
of energy during its manufacturing and transportation (IBID). The life cycle of a
product must also be considered: its Life Cycle Assessment (LCA), where the a
product’s inception right through to its manufacturing, use, and end of life issues
are assessed. IAQ, embodied energy and LCA are three major sustainability
criteria that will require interior designers to work with a consideration for human
health and well-being, and with placing importance on natural systems.
Ultimately, what would be of the utmost value to the world of interior design, is a
guideline for material and product selection that includes straightforward
answers that address these complex areas of design. This guideline is not
likely to be available in the short-term; the potential solutions discussed in this
dissertation are rooted in a respect for nature as a whole, and with a
consideration for sustainable development: the economic, social and
environmental impacts.
The Environmental Preference Method, which is discussed in detail in this
chapter is a successful, practical tool that assesses the environmental impacts
of products and materials by way of comparative assessment, enabling
designers to make more informed choices (Anink, 1996). The model of the EPM
is used throughout this chapter at various stages as a strategy that interior
designers can use when specifying certain materials and finishes.
SUSTAINABLE INTERIOR DESIGN 66
4.1 Life Cycle Analysis and the Environmental Preference
Method
Life Cycle Assessment (LCA) is a technique used to assess the environmental
aspects and potential impacts associated with a product, process, or service.
This can be done by:
- compiling an inventory of relevant energy and material inputs and
environmental releases;
- evaluating the potential environmental impacts associated with identified
inputs and releases;
- Interpreting the results to help you make a more informed decision.
(http://www.epa.gov/nrmrl/lcaccess/, 2009)
The term ‘cradle to grave’, is a term that is used during a LCA to describe the
entire life of a component or product, from its creation to its disposal- which is
often before the end of its defined life and with no consideration of
environmental responsibility (Jones, 2008). The term ‘cradle to cradle’ is used to
describe the entire life of a component or product, and this extends from the
sourcing of raw materials to recycling into raw materials at the end of its defined
life (Jones, 2008). This concept of ‘no waste”, modeled after nature, was
introduced by architect William McDonough (Jones, 2008). For example, carpet
has traditionally been made from virgin nylon, installed, and, when replaced, it is
sent to a landfill: cradle to grave. By following the cradle to cradle method, the
carpet is manufactured, installed and when replaced, it is returned to the mill to
be regenerated as the raw material for new carpeting: cradle to cradle- a
closed-loop process (Jones 2008). However, the cradle-to-cradle method is not
sufficient on its own and must be used with a simultaneous focus on lowering
product consumption, the use of natural/raw materials, and toxins in the
production of material goods (Jones 2008). LCA is useful for assessing the
lifespan of a material or product, but may remain too complex and confusing
when attempting to choose the most preferred sustainable options available.
SUSTAINABLE INTERIOR DESIGN 67
Yet another complex issue can be a product’s service life: its replacement
factor. Replacement can occur due to durability failure, change of use and
fashion change. How can sustainable interior designers address these issues?
Survey data conducted for this dissertation, discussed in chapter 5, illustrates
durability as one of the main concerns that Irish designers cited when specifying
furniture and/or materials. It can be difficult to ascertain the trade-off between
eco materials and durability.
LCA can identify the environmental profiles of individual products, materials and
processes, mapping out the environmental effects from extraction, production,
transport, use, demolition and recycling. Yet there is much agreement that LCA
is unsuitable for comparing choices during the design process (Anink, 1996).
A more suitable guide for interior designers to follow when choosing materials,
products or finishes is the Environmental Preference Method (EPM). The EPM
ranks materials according to their environmental impact, based on the following
criteria:
-raw material availability
-ecological damage from extraction
-energy consumption including transport
-water consumption
-environmental pollution including waste
-human health and well-being
-repair, reuse, recycle
Source: Haslam, M. (2009)
In this chapter, various examples of interior finishes and furnishings are
discussed and a model for selection, based on the EPM, is suggested, in order
to illustrate the environmental considerations that interior designers should be
aware of when selecting materials. This guide for selection is extremely useful
for selecting finishes and furnishings that will reduce harmful effects to indoor
SUSTAINABLE INTERIOR DESIGN 68
air quality, since most material selection criteria should be based on the needs
of the occupants. The model can be applied to most material selections and is a
more viable option for interior designers, because by enabling designers to
choose more sustainable alternatives, they will be demonstrating their ethical
responsibility to both nature and human health. Also, by choosing sustainable
alternatives, designers will be forced to continuously keep well-informed, so that
they can evaluate, compare, and eventually rank materials or products before
specifying them (Jones, 2008).
4.2 Indoor Air Quality Well designed buildings are those which are fit for purpose. The design of
schools, hospitals and other commercial buildings can have direct and indirect
effects on human health (Irish Public Health Institute, 2006). For example, good
school design, as well as directly affecting the health of children, has been
linked to improved educational attainment and better job prospects in adult life
(Irish Public Health Institute, 2006).
According to National University Ireland (NUI) Galway’s Centre for Climate and
Air Pollution Studies, the average European spends 90% of their time indoors,
and the quality of that air plays a significant role in health and well-being
(http://www.nuigalway.ie/iapah/iapah_why.html, 2009). As expected, indoor air
quality is affected by outdoor pollution. However, scientists have recently
become concerned about indoor air pollution that is attributable to interior
materials and substances (Winchip, 2007). The content in various finishes and
furnishings can have an impact on indoor air quality (IAQ). IAQ environmental
problems in commercial buildings can be divided into two categories: building
related illnesses (BRI) and sick building syndrome, with the symptoms of BRI
being considered more serious than SBS (Winchip, 2007).
SUSTAINABLE INTERIOR DESIGN 69
BRI is a diagnosable disease or health problem that can be directly attributed to
a specific pollutant source within a building (e.g. Legionnaire’s Disease), whose
symptoms do not abate or diminish after leaving the building (Jones, 2008).
Sick Building Syndrome (SBS) is caused by a building whose occupants
experience acute health and/or comfort effects (e.g. headache, runny nose,
inflamed, itchy eyes, cough, etc) that appear to be linked to time spent therein,
but where no specific illness or cause can be identified (Jones, 2008).
Complaints may be localized in a particular room or zone or may spread
throughout the building; symptoms diminish or abate on leaving the building
(Jones, 2008).
Indoor Air Quality (IAQ) should be a major concern for interior designers
because it can affect people’s health, comfort, well being and of course,
productivity, as illustrated below in Fig 5:
Fig 5:. The benefits of improved indoor air quality according to Bonda, P. and Sosnowchik, K. 2007. Sustainable Commercial Interiors.
Fig 5 not only suggests the potential productivity gains from improved IAQ, but
it also illustrates the potential economic savings, where respiratory disease,
allergies, asthma, and other sick building syndrome-related illnesses are
reduced resulting in reduced health costs, absences and increased worker
performance.
Improved Health
Improved Indoor
Environment
al Quality
Increased Worker Performance
Vision, Mood, Motivation, Hearing,
Etc.
Reduced Health Costs
Reduced Absence
Economic Benefits
SUSTAINABLE INTERIOR DESIGN 70
Indoor air pollutants from materials and products contain toxins that can be
extremely harmful to human health. Toxins such as Volatile Organic
Compounds (VOCs), Formaldehyde, Urea-Formaldehyde, and certain flame
retardants are all toxins that can be found in interior finishes and furnishings.
These toxin levels can be minimized by specifying the right products by an
interior designer who has enhanced environmental awareness, who is
committed to implementing sustainable strategies when choosing them.
4.3 Volatile Organic Compounds (VOCs): Paint
Volatile Organic Compounds are compounds that vaporize (become
a gas) at room temperature (Jones, 2008). VOCs have been identified by the
World Health Organization as one of the 5 main harmful substances in indoor
air, and they are linked to respiratory diseases including asthma, lung cancer
and mesothelioma (Irish Public Health Institute, 2006).
Common sources that can emit VOCs into indoor air include various building
and furnishing materials (Irish Public Health Institute, 2006). Examples include:
paints, lacquers, paint strippers, building materials, furnishings, glues,
adhesives, urea-formaldehyde foam insulation (UFFI), pressed wood products
(hardwood, plywood, wall paneling, particleboard, and fiberboard, including any
furniture made with these pressed wood products (BREEAM Offices, 2008). By
specifying finishes and furnishings that have a low or zero VOC content, a
designer is implementing a sustainable strategy to improve indoor air quality.
The Decorative Paints Directive addresses the need to reduce the risk to the
user and the environment due to exposure to VOCs, by limiting the VOC
content in certain paints
(http://www.epa.ie/whatwedo/advice/air/decopaintsdirective/, 2009). The
Directive was enacted into Irish law by the Limitation of Emissions of Volatile
Organic Compounds due to the use of certain Paints, Varnishes and Vehicle
Refinishing Products Regulations 2007 (External link Statutory Instrument 199
SUSTAINABLE INTERIOR DESIGN 71
of 2007) (http://www.epa.ie/whatwedo/advice/air/decopaintsdirective/, 2009). It
is estimated that the Directive will reduce the VOC emissions from decorating
materials by approximately 297k tonnes per year by 2010
(http://www.epa.ie/whatwedo/advice/air/decopaintsdirective/, 2009). According
to the Environmental Protection Agency of Ireland, the decorating products
listed in the Directive can only be sold on the market if their VOC contents are
equal to or lower than the values outlined in the Directive, in its ready-to-use
form (http://www.epa.ie/whatwedo/advice/air/decopaintsdirective/, 2009). The
second phase of the Directive sets emission limits on VOCs and goes into effect
in 2010, so paint manufacturers are now endeavoring to comply in time,
following the trend of producing more water-borne paints versus solvents
(Hartman, 2009).
Reading the content labels of interior paint is crucial. When specifying paint, it
should contain ‘low’ or ‘zero’ VOCs. ‘Zero’ or ‘low’ VOC paints are available
from most mainstream paint manufacturers. Also to be considered are ‘eco-
friendly’ paint alternatives, which are made from organic plant sources and also
powdered milk-based products. Over the last five years, most paint
manufacturers have improved the sustainability of their products and as a
result, there is now a niche market for eco and natural paint (Hartman, 2009).
Natural paint can be distinguished from eco-paint by their goal to reduce their
environmental impact through addressing embodied energy and maintaining
performance in terms of durability (Hartman, 2009).
The Environmental Preference Method for choosing interior paintwork for
walls is as follows:
Preference 1 Whitewash
Preference 2 Mineral Paint, water-based natural stain
Preference 3 Natural paint, water-based acrylic paint
Not Recommended Alkyd paint
Source: Anink, Boonstra et al. (1996) Handbook of Sustainable Building: An Environmental Preference Method
SUSTAINABLE INTERIOR DESIGN 72
The Environmental Preference Method for choosing interior paintwork for
wood is as follows:
Preference 1 Untreated wax, water-based natural stain
Preference 2 Water-based acrylic paint
Preference 3 Natural paint, high-solids alkyd paint
Not Recommended Alkyd paint
Source: Anink, Boonstra et al. (1996) Handbook of Sustainable Building: An Environmental Preference Method
Whitewash is made up of lime dissolved in water with no further additives, with
limestone or shells used for extraction, a relatively clean process (Anink, 1996).
Mineral paint and Water-based paint: mineral and water based paints use
water as a solvent, and one of the great advantages of mineral paint is that it
contains very few synthetics and can cover surfaces in a single layer, resulting
in less paint needed (Anink, 1996).
Natural paint: is usually made of renewable materials but can be at a
disadvantage to mineral paints because of the numerous organic solvents that
are released, affecting indoor air quality (Anink, 1996).
Acrylic paint: water-based acrylic paints contain fewer solvents than alkyd
paints yet contain more harmful additives such as biocides and emucifiers
(Anink, 1996).
Alkyd paint: contains 40%-50% organic solvents that can threaten the painter
and hinder IAQ (Anink, 1996).
SUSTAINABLE INTERIOR DESIGN 73
Natural paints that contain plant-based solvents including linseed oils, plant or
earth-based pigments are a very good alternative to synthetic paints, which
usually contain petrol-based solvents and titanium dioxide pigments, causing
respiratory problems, headaches, cancer, etc. (Haslam, 2009). There is no real
need to preserve wood when it is being used solely internally, and a natural
wax, such as beeswax is an ideal choice if woodwork must be treated (Anink,
1996). It is also more durable when it is allowed to breathe (Haslam, 2009).
4.4 Formaldehyde: Wood Furnishings
Formaldehyde is a colorless, pungent-smelling gas that can cause watery eyes,
burning sensations in the eyes and throat, nausea, and difficulty in breathing in
some humans when exposed to high levels
(http://www.epa.gov/iaq/formalde.html#Health%20Effects, 2009). It is both a
naturally occurring and an industrially created chemical, and a colorless gas,
which cannot be seen, smelt or tasted, which can be inhaled or absorbed
through the skin (http://www.holistic-interior-designs.com/dangers-of-
formaldehyde.html, 2009). The American EPA has classified formaldehyde as a
potential human carcinogen (Bonda, 2007).
The most significant indoor sources of formaldehyde are likely to be pressed
wood products that are made using adhesives that contain urea-formaldehyde
(UF) resins. UF is also used in adhesives in plastics, as a no-iron additive for
textiles and drapes, as a paper coating, and as paint preservative
(http://www.holistic-interior-designs.com/dangers-of-formaldehyde.html, 2009).
Common interior pressed wood products that it can be found in include:
particleboard (used as sub-flooring and shelving and in cabinetry and furniture);
hardwood plywood paneling (used for decorative wall covering and used in
cabinets and furniture), and medium density fiberboard -MDF- (used for drawer
fronts, cabinets, and furniture tops). MDF contains a higher resin-to-wood ratio
than any other UF pressed wood product and is commonly recognized as being
SUSTAINABLE INTERIOR DESIGN 74
the highest formaldehyde-emitting pressed wood product
(http://www.epa.gov/iaq/formalde.html#Health%20Effects, 2009). These types
of composite wood products (fiberboards) have generated serious IAQ issues
for interior design because the UF binders they contain can off-gas over long
periods of time (Jones, 2008). These toxins are being off gassed, not only
inside our workplaces and interior environments, but also into our atmosphere.
Moreover, fiberboards that contain formaldehyde-based resins can be difficult to
recycle, resulting in more waste being sent to landfill (Jones, 2008).
Wood products containing phenol-formaldehyde (PF) generally emit
formaldehyde at considerably lower rates than those containing urea-
formaldehyde (UF). Although formaldehyde is present in both types of resins,
pressed woods that contain PF would be preferable to those containing UF
resin (BREEAM Offices, 2008). Table 3 lists where some of the most common
sources of formaldehyde in interior materials can be found:
Table 3. Common Sources of Formaldehyde in Interior Materials
Composite wood products
Adhesives and glues
Finishes Foams Health effects
Plywood Particleboard Chipboard Medium-density fiberboard (MDF) furniture
Laminated products Furniture, floors and paneling, carpet backings, vinyl wall covering
Fabrics (permanent-press finishes) Floor (acid-cured) Paints Paper, Furniture stains, water-based paints (especially gloss finish), fire retardants
Mattresses Upholstery stuffing
Irritant, Headaches, Sore throat/coughing/wheezing, Eye irritation
Sources: Bonda, P. and Sosnowchik, K. (2007). Sustainable Commercial Interiors, Winchip (2007). Sustainable Design for Interior Environments.
It is alarming the number of common furnishings that formaldehyde content can
be found in. Plasterboard and carpets are able to capture formaldehyde
SUSTAINABLE INTERIOR DESIGN 75
emissions and emit them during their lifecycles; however, their own chemical
content has minimal levels of formaldehyde (http://www.holistic-interior-
designs.com/dangers-of-formaldehyde.html, 2009). evaporating fumes can also
tend to be absorbed and released over time by large interior surfaces such as
ceiling tiles and carpeting (Bonda, 2007).
It is important for designers to continually search for safer options when it
comes to the toxicity of interior materials and finishes. Manufacturers have
responded to the environmentally conscious consumer by creating alternative
products, such as wheat board as an alternative to conventional plywood and
particleboard (Bonda, 2007). Wheat board (Fig 6) is produced from compressed
straw rather than wood fibers compressed with chemical resins, and it is a
waste by product from harvesting
(http://www.holistic-interior-designs.com/eco-wheat-board.html, 2009). It is
bound together with formaldehyde-free resins and is an ideal material for
countertops and cabinets, laminate surfacing, painting and staining
(http://www.holistic-interior-designs.com/eco-wheat-board.html, 2009).
Fig 6: Wheat board
Straw particleboard is also an excellent alternative to wood particleboard
because it is 20% lighter (Jones, 2008). Thankfully, the availability of
SUSTAINABLE INTERIOR DESIGN 76
sustainable composite wood furnishings has improved significantly and this is a
result of the research and development of new binders, such as MDI (methyl
diisocyanate), which contains no formaldehyde and is used for binding medium-
density fiberboard and straw-based particleboards (Jones, 2008).
4.5 Flame retardants: Textiles
Brominated (or halogenated) flame retardants (BFRs) are commonly found in
textile products such as polyurethane foam cushioning, upholstered furniture,
carpet underlay and textile coatings, and are used for slowing combustion once
ignited (Bonda, 2007). It is important for designers to avoid polyurethane foam
furnishings, such as carpet underlay, where as the underlay disintegrates, dust
can be dangerously ingested (Bonda, 2007). An environmental alternative to
polyurethane foam in underlay products is jute underlay (Fig. 7). Jute is
environmentally friendly because its contents are cellulose and lignin, which are
biodegradable (http://www.naturalfloorcoverings.com.au/CARPETS/Jute-
Carpets/info/jute_information.htm, 2009). Like other synthetic products, it
doesn’t generate toxic gases when burnt (Bonda, 2007). The Jute fiber is
naturally biodegradable because it disintegrates into the soil when exposed to
water for prolonged periods, and it is available in inexhaustible quantities, at
comparatively low prices
(http://www.naturalfloorcoverings.com.au/CARPETS/Jute-
Carpets/info/jute_information.htm, 2009).
Fig. 7: Jute Underlay
SUSTAINABLE INTERIOR DESIGN 77
Many manufacturers are not obliged to reveal which flame retardants they use
in their products due to labeling laws (Bonda, 2007). Yet some companies, such
as Herman Miller and IKEA are honest about communicating what efforts they
are taking to eliminate halogenated compounds from their products (Bonda,
2007). IKEA applies the precautionary principle with regards to the use of
chemicals and other potentially hazardous substances in their products and
their impact on human health and the environment
(http://www.ikea.com/ms/en_IE/about_ikea/our_responsibility/products_and_ma
terials/making_home_furnishing_products_safe.html, 2009). IKEA has
successfully eliminated BFRs from all of its furniture (Bonda, 2007). Their
products also comply with the chemical restrictions of the new European
Community Regulation on chemicals and their safe use, entitled REACH (EC
1907/2006). REACH deals with the Registration, Evaluation, Authorization and
Restriction of Chemical substances. The aim of REACH is to improve the
protection of human health and the environment through the better and earlier
identification of the intrinsic properties of chemical substances. The REACH
Regulation gives greater responsibility to industry to manage the risks from
chemicals and to provide safety information on the substances
(http://ec.europa.eu/environment/chemicals/reach/reach_intro.htm, 2009).
Some examples to be admired, set by IKEA:
an early voluntary ban on PVC (decided 1991) except in cables
an early ban of all organic brominate flame retardants in furniture
(effective from 2000)
A ban on formaldehyde emitting paints and lacquers on all products
(effective from 1993).
Designers should be continually persistent in asking questions about BFRs in
products. By asking manufacturers for halogenated-free flame-retardants, even
though it may not be possible to obtain them today, awareness can be raised
which will eventually lead to changes in the future.
SUSTAINABLE INTERIOR DESIGN 78
4.6 Finishes: Flooring
The majority of peoples’ lives are spent in indoor environments- in our homes,
schools and workplaces, and in these environments the choice of flooring
material has a major role to play. The Healthy Flooring Network (HFN) is an
alliance of organizations and individuals concerned about human health and the
environment (Cooper, 2001). Research by the HFN has shown that in an
attempt to control dust mites, the carpet industry adds chemicals to carpets
which are highly toxic and have been banned in other applications (Cooper,
2001). After an independent laboratory analysis, HFN discovered that both
carpets and vinyl are loaded with chemicals that could escape into the indoor
environment. brominated flame retardants, formaldehyde and permethrin, a
chemical added to carpet treatment to kill dust mites, were among the most
harmful chemicals used (Cooper, 2001).
Another unsustainable flooring material is Vinyl, the second favorite flooring in
UK homes and schools, with few buyers realizing that it is created from a
concoction of highly toxic chemicals. There is growing evidence that some of
these chemicals, called phthalates, used to soften PVC, or vinyl, can contribute
to allergic disease and other health problems (Cooper, 2001). Scientific studies
have shown that PVC contains dangerous chemicals that can escape into the
indoor environment, with some chemicals linked to asthma (Cooper, 2001).
vinyl flooring is petroleum-based (therefore nonrenewable) and its
manufacturing processes also emit toxic pollutants (Winchip, 2007). It is not
durable, has a negative effect on IAQ, and holds a short life cycle of 10 years,
after which it is non-biodegradable and cannot be recycled (Winchip, 2007). The
life span of linoleum compared to vinyl is three times greater and comes with
added long term economic savings (Winchip, 2007).
Interior designers need to know how to choose the least polluting floors. The
HFN points out that linoleum, wood, rubber and other alternatives are just as
SUSTAINABLE INTERIOR DESIGN 79
hard wearing and easy to maintain as carpet and PVC in their detailed Guide to
Healthy Flooring, and are much less likely to accumulate allergens or contain
high levels of chemical additives (Cooper, 2001). It provides up-to-date
information on alternative options and advises on how to safely remove carpets,
also providing a comprehensive list of suppliers (Cooper, 2001).
Certain types of hard flooring materials do not retain dust or allergens as much
as soft flooring materials like carpet, and it is much easier to remove
contaminants from hard florring (Winchip,
2007). The following are some alternative,
more sustainable choices for durable
flooring:
Fig. 8
Wood (Fig. 8) is very durable and easy to clean. Choose reclaimed wood or
wood certified by well-managed sustainable forestry schemes such as the
Forest Stewardship Council (FSC). Laminates are cheaper than wood, however
some use glues containing formaldehyde, so look for low or zero emitting
boards (Cooper, 2001). Salvaged or reclaimed wood flooring are the most
preferred option if specyfing wood floors, with FSC certified wood next in the
order of preference (Jones, 2008). It is also advisable to obtain a list of all wood
species that are endangered from the Convention on International Trade and
Endangered Species (CITES) (Winchip, 2007).
Bamboo (Fig. 9) holds great environmental properies such as having low
embodied energy, and beautiful graining and colour aestetics. it is becoming a
more popular choice in the US due to its rapid renewable growing characteristic
(Winchip, 2007). Bamboo is a grass and not a tree and therefore has a shorter
SUSTAINABLE INTERIOR DESIGN 80
growth time than trees that are used for hardwood flooring (Winchip, 2007).
Although bamboo is a sustainable flooring material, bamboo product
specifications should alsways be reviewed by designers since it might not be
sustainable if VOCs or any other toxic materials are present (IBID).
Fig. 9
Two excellent types of resilient flooring for the environment and IAQ are
linoleum and cork (Winchip, 2007). Both are available in sheets and tiles. Both
materials are biodegradeable, antistatic, recyclable and both are thermal and
acoustic insulators (Winchip, 2007).
Linoleum (Fig. 10) is a very durable material, anti-bacterial, anti-static, easy to
clean, flexible, warm and a good sound absorber, with an expected lifespan of
30-40 years (Cooper, 2001). The content is made up from natural substances
such as linseed oil extracted from the flax plant, wood flour, natural pigments
and limestone dust (Winchip, 2007). Content is locally available and requires
SUSTAINABLE INTERIOR DESIGN 81
little energy for processing (Winchip, 2007). It is hypoallergenic, fire and mold
resistant (Winchip, 2007).However, there have been some concerns about
linoleum’s effect on IAQ, due to the continuous oxidation of linoleum acid that is
in the material (Jones, 2008). This oxidation contains VOCs that provide the
bactericide properties in it yet can be a health threat to occupants (Jones,
2008). Investigation should be done into its adhesives which may not always be
water-based and solvent-free (Jones, 2008).
Fig. 10: Linoleum flooring with a grained effect
Cork (Fig. 11) is warm, rich looking and durable with excellent insulation and
noise reduction qualities. It is a highly renewable resource because removing its
contents from Mediterranean oak trees does not require the tree to be felled,
SUSTAINABLE INTERIOR DESIGN 82
and once the cork is removed, the tree replenishes its bark (Winchip, 2007).
Binders should be UF-free. Not suitable for floors with under floor heating as it
is sensitive to heat, and also unsuitable for rooms with excessive moisture such
as bathrooms (Winchip, 2007).
Fig. 11: Cork flooring in an office environment, where noise reduction is essential
Natural Rubber is also very durable with good shock and sound absorbing
qualities. This is particularly effective in commercial or public buildings.
However, rubber floorings not recommended for most sustainable interior
applications because of its off-gassing properties; the only appropriate interior
applications for rubber flooring are buildings with a considerable amount of
ventilation (Winchip, 2007).
4.6 Finishes: Carpet Much of the confusion that surrounds material selection is often rooted in the
debate of natural versus synthetic materials. It is essential for designers to be
SUSTAINABLE INTERIOR DESIGN 83
aware of the comparisons between natural fibers (cotton, jute, wool, linen,
hemp) that are more eco friendly than their man-made opponents (nylon,
polyester) made from petroleum. Yet a textile is more than just fibers. It includes
additives, dyes, resins and other residues and what also must be taken into
account is their manufacturing process(es) (Bonda, 2007). Adding to the
complexity are new plastics that are being made from plants instead of
petroleum: fibers from agricultural products such as corn, rice and beets, which
are biodegradable. Yet these newly developed fibers must also be treated with
dyes, bleaching etc so those processes must also be considered. It is also vital
to understand that carpet is the flooring material that most directly affects IAQ
(Jones, 2008).
There are also major end-of life issues to consider with textiles. According to the
Cradle to Cradle design paradigm proposed by McDonough, the ideal answer
lies in intelligent synthetic fibers, and fabrics made from them, or else the
closed-loop process of the fiber’s production, use and recovery (Bonda, 2007).
Petroleum-based synthetics that can be recycled at the end of their use safely,
or plant based fibers that can safely return to the soil to support repeated plant
growth are both viable options (Bonda, 2007). Yet, the chemicals used to treat
fibers must also be considered. Therefore, interior designers must possess a
broad understanding of the data that surrounds materials before they can make
a selection. Their awareness of the entire life cycle of materials is essential.
Fortunately, the environmental awareness of the interior design industry, in
terms of its textile manufacturers and suppliers is growing significantly, as a
response to new environmental legislation, that addresses pollution and waste
(http://www.co-design.co.uk/jhealey.htm, 2009). A sample of complex issues to
consider when debating between natural and man-made fibers is shown in
Table 4:
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These interesting comparisons illustrate the complexity of comparing the
environmental impacts of various fibers. It shows that the entire life cycle of
fibers used in textiles should be researched by interior designers in order to
specify the most sustainable options. It is only by researching that designers
can become familiar with the textile companies who are implementing the best
manufacturing practices.
Table 4: Comparison of Fibers
Natural Fibers Man-Made Fibers Biodegradable Not biodegradable, but can often be
recycled
Manufactured from renewable
resources, but often produced
through agricultural or farming
processes, which involve the use
of petroleum-derived pesticides
and harmful fertilizers.
Manufactured using petroleum, a
depleatable resource; however, very
little petroleum is used in the
manufacturing of synthetics. A heavy
metal called antimony required to make
polyester, can cause harmful
environmental and human health risks,
particularly during production, disposal
and recycling.
Water and energy is consumed in
the cleaning, dyeing, finishing and
transporting of natural fibers.
Labor-intensive processes and
crops can repeatedly deplete soil
year after year.
Water and energy are used in all the
processing stages of all fibers, but
most extensively in man-made fibers.
Yet most of their production processes
are essentially clean.
Source: Bonda, P. and Sosnowchik, K. 2007. Sustainable Commercial Interiors.
SUSTAINABLE INTERIOR DESIGN 85
The following is a summary of some the world’s leading sustainable carpet
collections:
1. The perfect life cycle of a product has come closest to being achieved by an
upholstery fabric product called Climatex Lifecycle, developed by Swiss
manufacturer Rohner Textile (Bonda, 2007). Penny Bonda details the
astounding environmental attributes of the product:
“The wool, ramie, and other components of the fabric are completely compostable, so much so that the trimming waste is used as mulch in nearby gardens. The entire manufacturing process was scrutinized for environmental optimization and redesigned to completely eliminate all toxins and waste. The factory itself has become a water filtering plant, with the water coming out actually cleaner than the water going in. standing in the way of achieving a completely closed loop cycle is the use of fossil fuels both in the manufacturing of the product and its transportation from factory to end user.” Source: Bonda, P. and Sosnowchik, K. 2007. Sustainable Commercial Interiors
Fig. 12: Climatex Lifecycle is made up of a compostable biological nutrient designed to turn
back into soil at the end of its life.
SUSTAINABLE INTERIOR DESIGN 86
2. the Eco Intelligent Polyester (EIP) fabric developed by Canadian textile
manufacturer Victor Innovatex is designed for office furniture such as seating
and panels, and matches the performance and aesthetics of traditional
polyester (Bonda, 2007).
Fig. 13: Eco intelligent Polyester fabrics by Voctor Innovatex represent a closed-loop technical
nutrient suitable for panel and seating applications within offices.
3. Interface Fabrics’ Terratex is made up of 100% recycled or compostable
materials, they are manufactured with increasingly sustainable processes; they
meet or exceed textile industry standards and are completely recyclable at the
end of their useful life (Bonda, 2007).
SUSTAINABLE INTERIOR DESIGN 87
Fig. 14: Interface’s Terratex fabric
Other sustainable textile collections whose manufacturers seriously invest their
time in recycling technology and the development of new sustainable carpets
include:
The Eco-tex collection by Arc-Com Design Studio (100% recycled
polyester);
The Re: stitch Collection by TVS Interiors for HBF Textiles (sustainable
fabric collection manufactured from recycled and recyclable polyester);
The i2 collection from Interface. No matter how the modular tiles are
arranged they all work together, eliminating waste and making
replacement easy
Shaw Contract Group’s L7 Collection. A C2C product
Lees’ Visio Collection of broadloom carpeting
Improvements towards the sustainability of interior textiles will continue so long
as designers, architects and end-users are demanding healthier buildings,
finishes and workplaces for their employees and occupants (Bonda, 2007).
SUSTAINABLE INTERIOR DESIGN 88
Finally, a useful tool for the designer when attempting to ascertain the toxicity of
a material is the Material Safety Data Sheet (MSDS). Material safety data sheet
(MSDS). An MSDS is a document containing information about the
characteristics and actual or potential hazards of a substance. It identifies the
manufacturer of the material and usually includes (1) chemical identity, (2) any
hazardous ingredients, (3) physical and chemical properties, (4) fire and
explosion data, (5) reactivity data, (6) health hazards data, (7) exposure limits
data, (8) precautions for safe storage and handling, (9) need for protective gear,
and (10) spill control, cleanup, and disposal procedures. Mandated in America
by the US Occupational Safety and Health Administration (OSHA), it is used
also in many other countries in one form or the other. It is also called a
Chemical Safety Data Sheet (CSDS) in Europe
(http://www.businessdictionary.com/definition/material-safety-data-sheet-
MSDS.html, 2009).
4.7 Sustainable Furniture Strategies
Some of the most important sustainable considerations when selecting
materials are the material’s reusability, its recycled content, it recyclability, if it’s
a rapidly renewable material, its manufacturing processes, and its place of
origin. From an interior perspective, wood and plastics are two of the most
widely used materials in modern furniture.
Salvaged wood or remilled lumber are both excellent choices for a designer to
specify for furniture or wood flooring. New wood products, as pointed out
previously in this chapter, should carry an FSC (Forest Stewardship Council)
certification. Environmental damage assessed by the EPM, such as harvesting
damage to tropical hardwoods should also be researched in wood products.
Solid, non-tropical wood, in cabinetry for example, is a more sustainable and a
healthy choice for IAQ because it does not contain adhesives (Anink, 1996).
SUSTAINABLE INTERIOR DESIGN 89
Plywood contains less adhesives and is longer-lasting than chipboard, and it is
also important to remember that chipboard’s high synthetic (melamine)
chemical substances hinders its efficient waste disposal (Anink, 1996). Cost
wise, the difference between choosing a solid wood over chipboard is quite
significant, and in certain applications such as social housing, chipboard is the
most feasible option available (Anink, 1996). However, it is hoped that major
corporate companies who are embracing sustainable manufacturing processes
such as IKEA continue working towards developing more affordable sustainable
wood furniture.
The Environmental Preference Method for choosing wooden cabinetry is
as follows:
Preference 1 European wood
Preference 2 Sustainable Plywood
Preference 3 Chipboard, fiberboard
Not Recommended Plywood made from Tropical wood
Source: Anink, Boonstra et al. (1996) Handbook of Sustainable Building: An Environmental Preference Method
Most cabinetry is made of medium density fiberboard (MDF), yet for healthy IAQ
it is crucial to ensure that the MDF doesn’t have UF binders as previously
discussed in this chapter (Winchip, 2007). FSC certification can also be sought
out in wood fiber particleboard, hardwood veneers, and even butcher-block
countertops, and ultimately, all wood products should be solvent-free, zero-UF
or at minimum, contain low amounts of UF (Winchip, 2007).
Another sustainable strategy for choosing furniture is to Specify existing
furniture: millions of pieces of used furniture are for sale at stores, auctions,
online etc. and they can also be bought already refurbished, reupholstered,
refinished, and/or remanufactured, offering significant economic savings over
purchasing brand new pieces (Winchip, 2007). Finally, it is important for interior
designers investigate the end of use properties of furniture pieces and address
the quantities of waste that can result from various pieces. Innovative designers
SUSTAINABLE INTERIOR DESIGN 90
are implementing new concepts to reduce waste and minimize the amount of
large furniture pieces that end up in landfills. One such new concept is
‘designing for disassembly’ a concept that has been developed by furniture
manufacturer Herman Miller. Herman Miller’s Celle chair, introduced in 2005 is
composed of 33% recycled content, is 99% recyclable, can be disassembled in
less than five minutes, and is also produced using alternative energy
(http://www.hermanmiller.com/Products/Celle-Chairs, 2009).
Innovative designers are also producing furniture from a wide range of other
materials that contain sustainable properties, such as cardboard. Cardboard is
a material which is practically CO2 neutral, has low embodied energy, is a
benign material, holds a potentially long life span and can be a re-used material
(Haslam, 2009).
In conclusion, it is important for interior designers to always consider the life
cycle of materials. Focus should always be kept on reducing the amount of
materials required, reducing indoor air pollutants, reducing energy needs and
reducing waste (Winchip, 2007). Also, consider the most environmental
alternatives: as a substitute for wood, for example, consider bamboo, which is
now growing in popularity in the United States (Winchip, 2007). Any wood
furnishings or finishes should be reclaimed, remilled or salvaged, or for custom
specifications hold an FSC certification so as to ensure its origin is from a
sustainably managed source. For healthy IAQ, designers should attempt to
specify textiles, flooring and carpet systems that have low or zero VOCs, be
made from recycled matter, be recyclable at end of use and/or biodegradable
(Winchip, 2007). Finally, when specifying furniture pieces, serious consideration
should always be given to the restoration and reuse of existing furniture, rather
than specifying new products. There exist many pieces of furniture that have
been designed to last for centuries. This occurs when (1) the right materials are
used, (2) suitable construction techniques are employed, (3) people maintain
SUSTAINABLE INTERIOR DESIGN 91
the furniture and take care of it, (4) proper cleaning and maintenance is
performed and (5) its appearance represents an excellent standard of design
and/or craftsmanship (Winchip, 2007). Again, perhaps there is a need to
address our values of material culture and our links to historical craft and
workmanship?
The sustainable options discussed here for interior finishes and furnishings will
only continue to be developed should the demand be present. Interior designers
can no longer turn a blind eye and not consider the environmental impacts that
their work can have. It is their environmental responsibility to request more
sustainable finishes, materials and furnishings from manufacturers and
suppliers. However, without a keen and well-rounded awareness into the many
issues involved in sustainable interior design, how will this demand gain
strength? The following chapter assesses the environmental awareness of Irish
interior designers, since ultimately the green movement in this sector in Ireland
cannot make an impact until this obstacle is overcome and environmental
awareness is dramatically raised.
SUSTAINABLE INTERIOR DESIGN 92
C H A P T E R F I V E______________________
Research Methodology and Findings “We shape our buildings and our buildings shape us.” -Winston Churchill
Sustainable interior design is based on sustainable design principles and
strategies that are focused within the built environment (Kang, 2008). People
interact with buildings almost every day, whether it is their home, place or work,
study or recreation. The concept of sustainable development was borne out of
the ideal that we must realize the developmental needs of humans without
sacrificing the earth’s capacity to sustain life for future generations.
The Interior furnishings, materials and finishes for buildings require significant
amounts of natural resources for their extraction, transport, processing,
SUSTAINABLE INTERIOR DESIGN 93
manufacturing, installation, use, reuse, recycling and disposal (Kang, 2008).
Thus, by specifying sustainable interior materials, interior designers can
promote the conservation of nonrenewable resources such as energy, water
and raw materials (Kang, 2008). However, in order to accomplish this, interior
designers must be knowledgeable about these environmental issues, and
consider this as important design criteria in the interior design process.
In Ireland, the environmental awareness of interior designers has not been
assessed to any extent at the time of this dissertation being written, to the best
of the author’s knowledge. Although there may be very helpful literature on the
subject, the majority of this literature –especially the major texts reviewed in
chapter two- were unavailable in Irish libraries, and they are predominantly
focused on the United States. It is the opinion of this author that there is a lack
of sustainable interior design practice present in Ireland. Interest is certainly
growing, in terms of sustainability being discussed within the interiors sector,
and several environmentally- conscious interior design firms, yet there remains
no sustainable interior design modules present in universities, very little
sustainable interior design material in third-level institution libraries and no Irish
building code or regulations that focus on the sustainability of commercial
interior design. Without environmental awareness, interior designers cannot
make the right decisions and may be incapable of understanding the
importance of implementing sustainable solutions.
5.1 Methodology
To determine the levels of environmental awareness amongst Irish interior
designers, a national, internet-based survey was conducted of 232 interior
designers who practice in Ireland, conducted during the months of August to
October 2009. The number of respondents was 102, giving an overall response
rate of 44%, which is highly acceptable for an internet-based survey. The
population for this study was obtained from the practicing members of the 2
SUSTAINABLE INTERIOR DESIGN 94
largest professional interior design bodies in Ireland, the Institute of Designers
of Ireland (IDI) and the Interiors Association (IA). Data was collected using a
survey of 11 questions based on sustainable interior design practice. Questions
were divided into categories of: professional practice, design specialization,
project type and environmental awareness. The extent of application of
sustainable interior materials/products, and the awareness of environmental
policy, legislation and building regulations was also measured.
5.2 Results and Findings
The following tables highlight some of the most interesting findings from this
survey.
SUSTAINABLE INTERIOR DESIGN 95
Data Collection Table 1.
Q: On a personal level, how important is practicing environmentally sustainable
interior design to you?
Regarding personal practice, the majority of the respondents considered
practicing sustainable interior design as either very (46.5%) or somewhat
(46.5%) important, with only 1.4% citing it as not important and 0% citing
indifference. This demonstrates that nearly half of the population surveyed
considers their work to have an environmental impact. Yet to what extent are
these designers practicing sustainably?
Designers were asked to indicate their design specialty area(s). If applicable,
they could select more than one option. After residential interior design (68.4%),
48.4% of the designers surveyed specialized in corporate or office design,
followed by 42.1% working in retail. Office and Retail design are both sectors
SUSTAINABLE INTERIOR DESIGN 96
that hold great potential for sustainable solutions, as suggested in the chapters
focused on lighting and water fixtures, finishes and furnishings.
Data Collection Tables 2 and 2a.
Q: Please select the sustainable solutions you currently implement in your
relevant field(s):
Table 2: Response breakdown
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Table 2a: Response comparison graph
The findings from Tables 2 and 2a indicate that the most widely used
sustainable solutions are energy efficient lighting and appliances. This may be
due to public campaigns related to energy conservation, such as The Power of
One. Surprisingly few respondents appear to be familiar with implementing
recycled materials, or carbon neutral materials such as wood. Perhaps a
national campaign should be created for addressing the CO2 neutral properties
of certain materials? Are interior designers not implementing the right
sustainable solutions because they are unaware of the overall benefits they
include? These findings suggest that there is very little sustainable practice
present within Ireland’s interiors sector. However, the results also suggest that
designers are viewing energy conservation as a priority in most commercial
building types. This is a positive result. Yet compared to the low percentage of
environmentally friendly paints/finishes used within the Heath sector, for
SUSTAINABLE INTERIOR DESIGN 98
example, where human health is of the utmost importance, the results show that
very little consideration is given to the indoor air quality of interiors.
Data Collection Table 3.
Q: Please select the most common reasons for not implementing sustainable
solutions in your design projects:
Table 3 indicates that the majority of designers cited client’s budget, aesthetics
and a lack of knowledge as the most common sustainable design obstacles.
Perhaps these issues could be addressed by educating designers so that they
can communicate environmental benefits to clients, through professional
training and/or interior design literature targeted towards interior design in
Ireland? ‘Lack of information’ - most likely including misinformation-was cited as
a key obstacle in implementing sustainable design solutions. Additionally, that it
SUSTAINABLE INTERIOR DESIGN 99
would involve a sacrifice in aesthetics, cost, or performance. Budget was the
most highly cited obstacle at 76.1%.
These results directly relate to the misconceptions associated with sustainable
interior design. In regard to budget, some sustainable products do cost more
than other products, but this initial cost is often offset by long-term savings,
such as the durability of the product, the reduced maintenance costs, the
reduced energy/water consumption, or other benefits such as the health
benefits to building occupants through enhanced indoor air quality (Bonda,
2007). Furthermore, new manufacturing technologies and economies of scale
have created a market for a wide range of sustainable products that do not cost
more than regular ones (Bonda, 2007), with companies targeting the gap in the
market for sustainable products within the affordable price range level.
In regard to the respondents’ perceptions of functional and aesthetic
requirements, these are, of course, 2 major interior design priorities. Are they
impinged by sustainable design? Sustainable products today meet the same
performance requirements as any other product (Bonda, 2007). In the early
days of the eco-design movement, some products did have quality-related
issues; yet many of these issues were not related to the sustainable
characteristics of the product (Bonda, 2007). There has now been a decade or
more of continuous research and development as well as more modern
manufacturing processes, ensuring that most sustainable products meet, and
often exceed, high performance standards (Bonda, 2007).
While with some sustainable products it may be evident aesthetically that they
are environmentally friendly, it is often that way because they are designed to
convey that message (IBID). Many sustainable products are unidentifiable by
their appearance, as will be presented in the following chapter on case studies.
The availability of sustainable product choices is most likely a further
misconception for many interior designers. Manufacturers are constantly
monitoring the potential for sales opportunities that are associated with green
building technologies, which are becoming increasingly prevalent (IBID).
SUSTAINABLE INTERIOR DESIGN 100
Furthermore, these companies are also striving towards improving their own
environmental responsibilities. This is leading to more sustainable products
becoming readily available everywhere, with companies also changing their
own inefficient waste and energy processes, instead investing in their research
and development into a whole new generation of sustainable products (IBID).
Data Collection Table 4.
Q: Please indicate your familiarity with each of the following building standards
and regulations:
In relation to the large international sustainable design standards, the results
presented in Table 4 suggest that as expected, the most familiar standards and
regulations are those that have legal compliance in Ireland. These documents
are also used by architects, planners, technicians and engineers, suggesting
that interior designers may only be aware of their compliance through their joint
workings with the abovementioned professionals. This analysis relates back to
the theory of Jones, 2008, that sustainable interior design must be a joint effort
from government, planners, developers, financiers, architects, engineers,
SUSTAINABLE INTERIOR DESIGN 101
interior designers, construction managers, code officials, landscape architects
and facility managers, as well as trades people.
EU legislation and policies such as the Decorative Paints Directive, the
National Energy Efficiency Action Plan and the Kyoto Protocol received a
minimal amount of familiarity. This suggests that many interior designers do not
consider government environmental policy to relate to their professional
practice, or be of little concern. It is also a reflection of their environmental
awareness on Ireland. Astonishingly, the most unfamiliar guides were the FSC
and EPM, which are directly applicable to interior designers since they relate to
the specification of interior materials. Likewise, the building standard LEED CI
(currently the sole standard that has a focus on the interior design of buildings),
was one of the most unfamiliar. Overall, there was surprisingly very little
awareness for the majority of the environmental standards and regulations
listed, apart from BREEAM UK, which may be due to the latest emergence of
BREEAM in Ireland, as discussed in chapter 1.
SUSTAINABLE INTERIOR DESIGN 102
Data Collection Table 5.
Q: Please select from the following the environmental regulations that you
currently comply with in your professional practice:
The findings illustrated in Table 5 show the extent to which interior designers
comply with the sustainable design literature and guidance that is available to
them. Again, very little compliance or use appears to be made of the FSC or the
EPM. In addition, the Decorative Paints Directive has received very little
compliance, and these results follow the pattern of Table 4 in regard to how a
low level of environmental awareness can dictate what is being complied with.
One confusing result from Table 4 is the low level of familiarity cited for Part L,
yet in Table 5 it is cited as the response that is most complied with. This
suggests that interior designers may not have an in-depth understanding of Part
L in its entirety, yet state that they comply with it regardless.
SUSTAINABLE INTERIOR DESIGN 103
Finally, designers were asked to what extent they considered indoor air quality
when choosing certain finishes:
41.5% said they ‘always’ considered IAQ when specifying paints, with
20% citing ‘rarely’;
30.8% said they ‘always’ considered IAQ when specifying flooring, with
27.7% citing ‘rarely’;
46.2% said they ‘always’ considered IAQ when specifying adhesives,
with26.2% citing ‘rarely’;
26.2% said they ‘always’ considered IAQ when specifying textiles and
fabrics, with 32.3% citing ‘rarely’.
The results for ‘rarely’ considering IAQ when specifying the above finishes were
alarmingly high and should have been lower, especially for paint and flooring.
5.3 Limitations and Considerations
This study was conducted with the following assumptions and considerations in
mind:
That sustainability is important to interior designers;
That this survey examined only the environmental aspects of
sustainability and not its economic and social aspects;
That those who specialized in key areas may be more likely to recognize
the importance of sustainable interior design, for example, a healthcare
designer’s awareness of indoor air quality;
Individuals who were more interested in sustainable interior design were
more likely to respond to the survey;
Only interior design practitioners who are members of the IDI and the IA
and who had an email address were included in the survey;
SUSTAINABLE INTERIOR DESIGN 104
5.4 Conclusions and Implications
In conclusion, this study gathered data to determine the level of environmental
awareness that exists amongst interior designers in Ireland, and to what extent
they employ sustainable solutions in their projects. Two major findings were
concluded from this study:
- Irish interior designers possess an extremely low level of awareness for the
most useful specification tools for materials, furnishings and finishes such as
the FSC and the EPM, nor have they been very exposed to leading green
building guides such as LEED CI;
- The lack of familiarity shown for EU environmental policy and legislation, such
as the Kyoto Agreement and the Decorative Paints Directive, demonstrates the
lack of environmental awareness amongst designers as to what environmental
issues are the most important for the country.
In conclusion, there is a need to increase the awareness of the importance of
sustainable interior design within Ireland. The development of sustainable
interior design guidelines and/or continuing education and training for designers
in this area is key to updating them on the most relevant environmental issues
associated with their sector. It is hoped that by improving sustainable design
education, more designers and design students will apply sustainable solutions
more often to increase the health, safety and well being of all who live, work and
play in interior environments. This cannot be achieved without overcoming this
first obstacle: improving the environmental awareness amongst Ireland’s interior
designers.
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C A S E S T U D I E S__________________
Overcoming Obstacles “Regardless of how efficiently we use resources, if design doesn’t inspire people, it will not last. If we get it right, sustainable design promises to bring art and science together.” - Lance Hosey, sustainable architect and designer
1. World Resources Institute
Headquarters Office Interiors
Washington, D.C
An office environment that expresses the company’s mission through
environmentally-friendly design.
a. Energy: lighting consists of personally controlled dimming switches,
sensors and smart controls to enhance energy savings by cutting or
reducing power supply when products are not in use. Pendant fixtures
hold low-mercury fluorescent lamps, all directed according to tasks. All
fixtures have integral occupancy and daylight dimming sensors. All office
equipment and appliances are “Energy star” efficiently rated.
b. Materials: wall facings are covered with 100% recycled paper and
finished with a low-VOC joint compound. Wall partitions are made of
gypsum board with high recycled content.
c. Paint: walls, ceilings and miscellaneous metal are treated with water-
based paint that is free of petroleum- based solvents and VOCs. Accents
SUSTAINABLE INTERIOR DESIGN 106
in the lunchroom are done with milk paint from paint made with milk
protein, lime, earth pigments and clay fillers, created from the Old
Fashioned Milk paint Company.
d. Flooring: Elevator lobby flooring is made of cork, a natural, renewable
and sustainably harvested material. The cork tiles are finished with a UV-
cured acrylic coating, which is durable, formaldehyde-free, zero VOC and
low maintenance, requiring only sweeping and mopping. Reception area
flooring is bamboo, with a water-based polyurethane finish that is durable
and easy to maintain.
e. Carpeting: offices and hallways are tiled with a 100% solution-dyed
Interface Carpet tile system, installed with a water-based, zero-VOC
releasing adhesive which can be replaces as and when needed,
reducing waste. Tiles are water impermeable meaning that they cannot
retain moisture, so there is no possibility for the growth of mold or
mildew. At the end of the carpet’s lease period, interface removes the
carpet and recycles it into new carpet.
f. Furniture: office design was configured to maximize workspace and to
enable the best integration of technology. Soft curves, natural finishes
and mobile pedestals enhance comfort and flexibility. Work surfaces are
made from a durable wood fiberboard finished with a low-emissions,
zero-waste, UV-cured process (Fig. 15). Workstation panels are covered
in fabric made from 100% recycled plastic. Chairs are by Danko, and
made from just 11 pounds of laminated maple each, with their woven
seats and backs made from surplus automotive seatbelt material.
g. Sustainably Harvested Wood: wood paneling in the reception area,
handrails, guardrails and reception desk are constructed from certified
sustainably harvested wood sources (Fig.16).
h. Reclaimed Wood: used in the reception area furniture
i. Cabinets and Work Surfaces: cabinets in kitchens and workrooms are
made from bio-fiber materials and are formaldehyde-free. Kitchen
countertops are made of linoleum on a wheat board substrate (Fig. 17).
Other work surfaces are made from Environ, a solid, formaldehyde-free
biocomposite made from soybeans and recycled newspaper. All millwork
SUSTAINABLE INTERIOR DESIGN 107
is sealed with zero-VOC clear finishes made of polymerized linseed oil,
with all finishes holding extremely well after five years occupancy.
Case study source: Odell, et al.(2006)
Fig. 15
SUSTAINABLE INTERIOR DESIGN 108
Fig. 16
Fig. 17
SUSTAINABLE INTERIOR DESIGN 109
2. National Wildlife Federation
Headquarters Office Building,
Reston, Virginia
a. Energy: occupancy sensors are located throughout the building, with
daylight switching in perimeter zones. Pendant direct/indirect fixtures
mounted over workstations provide an even distribution of ambient light,
supplemented by task lighting.
b. Materials: Ceilings use a high-reflective ceiling tile with high recycled
content (Fig.18). linoleum and carpeting are main flooring materials
(Fig.19). Doors, millwork and accent materials use natural, renewable,
bio-fiber materials as an alternative to wood or synthetics. All wood
veneering is FSC certified.
c. Furniture: all systems furniture were selected based on functionality
requirements as well as manufacturer’s initiatives to eliminate waste and
pollution from their manufacturing processes (Fig. 19, 20).
d. Indoor Air Quality: contaminants released during construction were
limited due to the use of water-based, low-VOC paints, adhesives and
finishes.
Case study source: Odell, et al.(2006)
SUSTAINABLE INTERIOR DESIGN 110
Fig. 18
Fig. 19
SUSTAINABLE INTERIOR DESIGN 111
Fig. 20
3. Haworth Merchandise Mart
Office Furniture and Interiors Showroom
Chicago, Illinois
a. Features: a striking feature of the showroom is the variable-height
raised-floor system; modular, elevated floor panels improve air
circulation naturally by increasing the efficiency of the sub-floor
HVAC system while adding visual interest. The floor panel
materials consist of stone, glass, carpet and cork with wheat-
board substrate.
b. Energy: low-voltage, light- and motion-sensitive lighting system.
All of the Haworth showroom’s electrical systems are powered
entirely by wind.
c. Materials: Haworth reused many materials left by previous
tenants, diverting more than 50% of all construction materials from
SUSTAINABLE INTERIOR DESIGN 112
landfills. Most of the showroom’s new fixtures and architectural
elements were manufactured in Michigan, Wisconsin or Illinois—
all within a 500-mile radius of the Merchandise Mart. Furthermore,
many of the products Haworth sells are GREENGAURD Indoor Air
Quality and Forest Stewardship Council Certified. Haworth’s
fabrics are made of 100% recycled fibers and products made of
post-consumer or post-industrial recycled content (Fig.21).
Case study source: Hoyer (2009)
Fig. 2
SUSTAINABLE INTERIOR DESIGN 113
4. Herman Miller Office Furniture
Herman Miller is a furniture manufacturer leading the way in environmentally-
intelligent design. They strive to use environmentally safe and healthy materials;
design for material reutilization such as recycling or composting; use renewable
energy and efficient use of water, and implement strategies for social
responsibility (http://www.hermanmiller.com/About-Us/Environmental-
Advocacy/Cradle-to-Cradle-Certification, 2009) .
The following are examples of Herman Miller products that have earned
McDonough Braungart Design Chemistry (MBDC) Cradle to Cradle certification
(Miller, 2008):
Aeron Chairs - Silver certification: adapts to body shape and is 94% recyclable
Celle Chairs - Gold
certification: dissasembles in
five minutes and is 99%
recyclable
SUSTAINABLE INTERIOR DESIGN 114
5. Chest of Drawers
By Tejo Remy, Droog Furniture Design
Remy's chest is a criticism of overproduction and consumerism. His design also
addresses waste, one of the biggest issues of the furniture design profession.
The chest has no fixed form and the drawers can be combined and changed at
will. All drawers are reclaimed second hand individual pieces.
Fig. 22
SUSTAINABLE INTERIOR DESIGN 115
6. Favela Chair
By the Campana Brothers
The Favela chair is a low-tech, artisanal approach to design, employing
sustainable, readily available, and often recycled materials. It is inspired by the
favela constructions in Sao Paulo, and by using scraps of wood they found on
the streets, the Campana Brothers created this intricately fabricated chair.
Fig. 23
SUSTAINABLE INTERIOR DESIGN 116
7. Spring Chair
By Modern Bamboo Furniture Co.
This piece of furniture has gentle curves reminiscent of molded ply, but it is
made of 100% bamboo, and is both an example of sustainable furniture at its
best and simple, minimal, exuding elegant functionality
(www.apartmenttherapy.com/.../spring-chair-010048, 2009).
Fig. 24
SUSTAINABLE INTERIOR DESIGN 117
8. Timberland shop fit in major Dublin retail department store
Arnotts
The social communication power of retail design is used extremely well here in
the new menswear Timberland shop fit in Arnotts, installed in autumn of 2009.
Not only is the shop fit made with reclaimed timber slats, Timberland has gone
as far as to include references to sustainable materials that can be used and
how they can reduce energy consumption. This design is a perfect example of a
designer’s awareness, enthusiasm and commitment to environmental issues so
as to inform their clients and consumers.
SUSTAINABLE INTERIOR DESIGN 118
SUSTAINABLE INTERIOR DESIGN 119
C O N C L U S I O N_____________________
Providing Designers with Environmental
Solutions
“Design is an integrative process that seeks resolution (not compromise) through
cross-disciplinary teamwork. Design is intentional. Success by design simply means
prospering on purpose.”
- Michael Smythe, Partner, Creationz Consultants
The special skill that a designer brings to a problem is their unique ability to
problem solve. Interior designers and their clients are heading forward into a
new generation that is uncertain and there will most likely be immense
professional challenges (Grant, 2006). The complexity of the issues involved
can be overwhelming for designers and many issues are technical, relating to
energy use and other mechanical systems of the building, leading designers to
believe that they can go without educating themselves and leaving the
decisions up to engineers and other professions, beyond the scope of interior
SUSTAINABLE INTERIOR DESIGN 120
design (Bonda, 2007). Yet, as Jones (2008) and Bonda (2007) both concede,
one of the most fundamental issues in sustainable interior design is that its
execution is an integrated process, one that includes all project participants
from the very beginning.
It is unlikely that there is going to be an abrupt shift in the way interior designers
work and implement sustainable solutions. It will happen gradually, but steadily.
Changes will encourage more widespread sustainable thinking within the
interior design sector. By focusing on improving the selection process when
specifying furniture, finishes and fittings, some of the most common
components of an interior will spread this message throughout the industry.
Designers need to learn how to balance the conflicting issues of sustainability
by integrating individual solutions in creative ways, to use less, and use what is
available rather than always specifying new components and materials. There is
no one solution –it will be a gradual build-up and a self-disciplining process that
will progress change. This is not a bad thing: designers must always be kept on
their toes, it will keep things fresh and innovative –exactly what design is all
about. Designers should also remember to continuously monitor which
sustainable design decisions work and which do not. This fundamental practical
research will be useful for future projects. Some learning outcomes from
sustainable decision-making will be restricted to specific project types and some
may apply to all.
Design Education
The field of sustainable interior design, especially within the commercial sector,
requires constant continuing education, and designers should take advantage of
any professional learning opportunities, and keep up to date with environmental
design news, events and happenings. It is the responsibility of industry bodies
such as the Interiors Association and the Institute of Designers of Ireland to
make these types of continuing education opportunities available as leading
design accrediting bodies in Ireland. Professional CPDs that address
environmental ethics and the role of sustainability within a design practice
SUSTAINABLE INTERIOR DESIGN 121
should be available for professional interior designers. In addition, this training
must incorporate a global environmental perspective, and not be just related to
Ireland. The development of training courses for capacity building in
environmental administrations and companies within the interiors sector is also
a viable option, to enhance awareness in lesser-known regulations, such as the
Decorative Paints Directive.
Irish universities that accredit interior design programs should require that
students attain a solid understanding of sustainable interior design. As the Irish
environmental regulations and rating continue to progress, clients will prefer to
employ designers who have the ability to achieve these ratings and comply with
environmental building standards. It makes good business sense to not only
understand the moral obligation of sustainable interior design, but also to be
able to practice it to a high standard, understanding the issues of Corporate
Social Responsibility (CSR). Take for example the US’s Council for Interior
Design Accreditation's (formerly FIDER) new professional standards that were
set in January 2006: the standards ensure that interior design education-and
the graduates it produces- is fully prepared for what lies ahead of them in the
profession (Bonda, 2007). It includes specific sustainable design criteria that
reflect the increasing impact of sustainable design on professional practice,
both today and in the future (Bonda, 2007). This initiative will prepare America’s
interior design education to move forward as the sustainable design movement
progresses.
Finally, it is crucial that interior designers are aware of the long term benefits
and multiple savings from sustainable interior design discussed in this
dissertation, and as graphically illustrated by Penny Bonda (2007):
SUSTAINABLE INTERIOR DESIGN 122
.
. .
Reduced water consumption Reduced electricity costs
Reduced landfill/tipping fees Avoiding mitigation hazards
Economic
Sustainable Commercial
Interiors
Social Environment
Good CSR Increased public relations Marketing opportunities
Increased customer loyalty Satisfaction of doing well by
doing good Aesthetic harmony between
building and its natural surrounding
Reduced emissions Reduced ozone depletion
Waste reduction Reduced natural resources
consumption Reduced use of toxic
substances Reduced off-gassing/VOCs
Extended material life cycle
Enhanced employee health & well being
Improved learning environments Increased occupant comfort Improved indoor air quality
Increased productivity Reduced capital costs
Reduced operating costs Increased property values
Quicker lease-outs/higher occupancy rates Tax incentives
Reduced absenteeism Lower healthcare premiums
Decreased recruitment/retention costs
Marketing differential
Source: Bonda and Sosnowchik, 2007, p.13
Education highlighting the economic, social and environmental foundations of
sustainable development, as it pertains to commercial interior design, needs to
be communicated and promoted within Ireland’s design and its construction
industry, to help raise awareness.
SUSTAINABLE INTERIOR DESIGN 123
Sustainable Interior Design Strategies
To summarize some of the key sustainable strategies discussed in this
dissertation, the following are some general considerations to remember when
selecting interior furnishings and finishes, according to Bonda, 2007:
Recycle: use materials and products made up of recycled propertied
such as polyester fabric made from recycled plastic bottles, other
examples.. Plan for recycling at the construction and design stages. For
example, specify recycling bins and their required storage space to be
allocated to enable full recycling capabilities.
Overcome time inconveniences: separating waste for recycling,
refinishing damaged furniture rather than sending it to landfill, recycling
ink cartridges, tasks that may take longer can, when done collectively,
have significant ecological benefits.
Reduce embodied energy by buying local (within 500 miles) to minimize
fuel use, and negative transport impacts on land, water and air. By
refurbishing an existing building, the embodied energy that is already
present within their structural massing is preserved, and reduces the
need to build something new.
select products with low or no VOC content and always choose water-
based finishes wherever possible, to address indoor air quality issues;
consider the entire life cost of the product- their durability, maintenance,
and embodied energy;
Try to use products that have a high recycled material content, or
products that can be recycled, reused or salvaged, to address their end
of life issues; if possible, use products that are made up of naturally
SUSTAINABLE INTERIOR DESIGN 124
renewable materials, that can be more easily recycled at their end of use,
or which are biodegradable if sent to landfill.
Only use precious materials sparingly, such as tropical hardwoods, and
only when they are certified from a sustainably managed forest, certified
by the Forest Stewardship Council (FSC). Also, specify all wood to be
from same; Make eco-wise decisions such as re-finishing an original
wood floor rather that installing a new one. Where this may be
unsatisfactory, use rapidly renewable materials, such as bamboo
flooring-, which is harder than oak.
Consider the adaptability and flexibility of a space: designing spaces for
multiple uses and/or different user groups that can easily be re-adapted
and reused, without requiring major refurbishing. For example, dividing
spaces with dismountable partitions.
Safety comes first when specifying materials and fire codes must always
be met, especially when selecting textiles, and this takes precedence
over any environmental concern (Bonda, 2007). Fortunately there are a
number of excellent sustainable solutions available which meet both
needs (Bonda, 2007).
Design an energy-efficient lighting plan; specify energy-efficient electrical
appliances and equipment
Specify water-efficient plumbing fixtures that help to reduce and
conserve water use
The most sustainable product choice is not always obvious. As examined
in chapter 4’s section of natural fibers, many designers would consider
natural materials such as cotton to be the more environmental choice,
but some natural materials require extensive and often negative land
SUSTAINABLE INTERIOR DESIGN 125
use, whereas synthetic yarns such as polyester can often require less
energy and less processing than natural fabrics.
It is also imperative that Irish interior designers attempt to utilize and comply
with the relevant policies and regulations so as to guide them towards
sustainable solutions. The following is a list of green building and assessment
guides that should be used by interior designers:
BREEAM applies to interior design because it addresses refurbishments,
the use of artificial lighting and the emissions of VOCs in finishes(Volatile
Organic Compounds), which can impinge on indoor air quality (BREEAM
Offices, 2008).
TGD Part L- Conservation of Fuel and Energy for Buildings other than
Dwellings- applies to interior design because it gives the limits of energy
consumption of a commercial building. Interior designers specify non-
structural components such as lighting and appliances, so awareness is
crucial.
Directive 2004/42/EC applies to interior design because designers must
be knowledgeable of which finishes comply with the directive, and inform
their clients. VOCs are emitted by a wide range of products such as
paints and lacquers, furnishings, glues and adhesives, pressed wood
products (hardwood plywood wall paneling, particleboard, fiberboard)
and furniture made with these pressed wood products (BREEAM Offices,
2008).
FSC certification applies to interior design because it is the most widely
accepted certification for sustainably managed forests and can be sought
when specifying wood furniture, flooring, etc.
The EPM applies to interior design because it is a tool in which to aid
designers when specifying materials, in order of environmental
preference; it ranks materials according to their environmental impact.
SUSTAINABLE INTERIOR DESIGN 126
Remember that not all environmental certifications are equal and it is
crucial that interior designers understand how they are testing and
exactly what they are validating (Bonda, 2007).
Finally, sustainable interior design requires a fresh new way of thinking, an
embracing of a new way of practicing design where designers are ethically -and
most likely in the future, legally- obliged to inform their clients of the most
sustainable design options. In order for interior designers to embrace
sustainability, their firms should possess certain operating principles:
1. -the incorporation of the company’s environmental philosophies and it’s
integration into the long term plan of the company, and in all decision
making processes;
2. - continually keep itself updated in terms of solutions for improving the
health of people and minimizing the environmental impacts-direct or
indirect;
3. support and encourage environmental practices that are cost-effective,
and serve to benefit the end user;
4. embrace the wide range of practices that focus on conservation of
energy consumption, sustainable management of natural resources and
closing the gap between consumption and waste;
5. promote design solutions that reduce pollutants in all stages of the life of
products, materials, finishes and furnishings;
6. Support and provide preference for sustainable products that come from
manufacturers who keep sustainable practices.
Source: Winchip, S. (2007) Sustainable Design for Interior Environments
SUSTAINABLE INTERIOR DESIGN 127
Conclusion
It is no longer enough to be an expert in one field but to be a co-learner, a
member of a network of mutual learning, because no one person can know all
the issues that need to be addressed within sustainable interior design; a
collective knowledge is far greater than individual knowledge and in sustainable
design, this advice is paramount (Bonda, 2007). Innovation will also be a key
driver; LEED CI has become the unofficial interiors industry standard within
North America, but it does not address aesthetics, and certification does not
guarantee the best of design. Economic savings may be the best way to sell
sustainability to a client, but it is important to keep innovation at the forefront,
hand in hand with creativity. Innovation is a key player in every step of the
design process. Creating an interesting and attention-grabbing element, such
as creating a staircase that will encourage its use rather than using elevators
will propel users to interact with it, resulting in reduced energy use.
One must keep in mind the industrial revolution: a new one is happening, and it
appears it has begun in the US. Green design has become a powerful
communication tool of the corporate world, as demonstrated in the previous
chapter containing case study examples. Society is learning and green design
is spreading. Is this a revolution that Ireland may be left behind in? It is
imperative that Irish interior designers begin implementing sustainable solutions
today, so as to be prepared for the increasing environmental policy and
legislation that is sure to follow tomorrow, as more natural resources are
abused and depleted. Interior design students must also understand the
urgency and importance of knowing the meaning of sustainable interior design,
for the sake of Ireland’s design industry future.
Perhaps it is time to re-address one’s values of product appearance and
material culture in order to tackle the environmental degradations that can result
from the many steps of the design process (Walker, 2006). An important aspect
of sustainable development is the ‘local’ characteristics of place. Therefore, it
may help interior designers to reflect on their past and return to learning from
SUSTAINABLE INTERIOR DESIGN 128
craft and folk design traditions. The main challenge for all types of designers is
to find ways of bringing together the local and the global, to create designs that
suit modern, technologically and economically developed societies (Walker,
2006, p.36). If designers can begin to consider the environmental issues that
are a result of interior design, they will be making a step towards fulfilling their
environmental duties. This may involve ‘re-designing’ their own designs, a
completely new way of working. A return to the ‘local’ characteristics of place.
Interior design decisions can be no longer made based on aesthetics, budget
and functionality. Designers now have a responsibility to create indoor
environments that reflect environmental awareness, environmental protection
and the sustainability of the building itself (Jones, 2008). Interior designers must
now question the effects of their work not only on the natural environment, but
also in view of human health; they must consider the effects of their work on
humanity.
SUSTAINABLE INTERIOR DESIGN 129
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